Re:TheAshLad
Volume 2
Sandbooks ISBN 978-82-92860-00-7 First Edition Copyleft 2007 http://sandbooks.com
94
eo.. am.. never contrastingly. i am currently wrinkles a masters.
dissipater on bob. prosjekter. ka skjer i rultkurrådet får bare åpnet
denne linken. fra internet. eo.. Telnomicsgo Nere. eo.. i posted a
suggestion for a book publishing scheme a few. days ago which. mengden. c.
ssb.no. higher amount. simuleres.. eg. why don't they pay webloggers for
making content for. them on a freelance. Minzumgo Extraewin.
Sociologically and all it would be interesting having. different people
on. hskjahflaskjfhl skjghsadkjhgoweghksljaslkhg. ..some gofy experiments
in rendering text. KJFØS. yu both miekal and. en. a.
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ikke). jeg har ikke tenkt å gi dem noe mer informasjon (ennå) men jeg kan
gi. skiltet utenfor rommet. Dem om det.. flere interessante ting
etterhvert. Har du noen. ideerønsker om hva jeg. ieaeee. am.. ). are
married to their children (i am the priest (the. conventional and virtual.
..s.deodening.w..ic..........ker.b.
.r..u.s..i..exa.be....trudgen....on...d....kiath.ermol..y.a..u..t...m.
eo.. djbyhand my favor.. Mar .M. djbyhand my favor.. Mar .M. å ha ingen.
brutal. brutal. å ha ingen. sparker ned.. Forbistrede kulturarbeidere og
sinte statstøttede. kunstnere slår tilbake mot. flashback news agency.
weekly). bai now jast a memori in the maindz ov ould doderez tu. riplais
'ch' 'sh'. ks.. . fragment. b. amen amen. men. might be lost in other
tracings. bear with meB. k. å. Original Message. vertigo but it's actually
readable in norwegian. nothing is. . re fragment information overload. had
puppeteers the hours reserved Ministry despite enabling. the. (('(( (().
(( ((( ((( (((. )). ((( ((' o. am.. detected in one of your messages..
detected in one of your messages.. detected in one of your messages.. sd..
wet diu who tri dma maw so wen a. whatchamacallitst discanonisations
weatherproofness. tracheobronchial. am.. '. thank you for participating in
mailing list subscriber. Censorship is a more neoistical sound of
disorientation. than.
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oocf ei. gkows h.seaiewt. e.tmne.tnert.nert.net.emtn.emtn.emne.. sd..
network that developed in the 's and 's using the. postal. jlhcvemkfgw
ttxu. PT R. i. e. plays a part.consider the following datarichard harshman
and his. viewed at best as strange or unusual.. women.There is.Women with
higher levels do betteragain. suggesting. ks.. ID. . not.net.no. . paid
surveys. . not.net.no. æ. stuttututti. (daddeling dipshits). are they
trolls too to hoot. plays a part.consider the following datarichard
harshman and his. viewed at best as strange or unusual.. women.There
is.Women with higher levels do betteragain. suggesting. am.. participation
inclusivity rather than exclusivity. participation inclusivity rather than
exclusivity
95
experimentation and. sd.. Paper CD case origamiA nice DIY solution for
storing CDs as. an. ks.. Hvorfor drikker du etter gudstjenesten. .
difficult to get carbide. . Re mp. . book.. O o O O. . syndicate fragments
of a history of art (timespace). chart (after maciunas). a ab bce be bb ee
dd ff f aa. . rhizomeraw dot.art from the last millennium. . Re trunts.
sd.. Bmorkeda The. am.. Syndicate mailinglist. This is a multipart message
in MIME format.... sd.. alltid smertelig hvorfor det alltid gjøres
prosedyrer. rundt det og tagges. sd.. publisher and agency established for
providing and funding. new media art. counterpart and the slave's only
response is eventually to either. such a country could take the totally
opposite path of. what we call. end of forwarded message. GT TH THE HE EB
BA LE EA AN AND ND DA A AF FO. FOR. . difficult to get carbide. . Re mp. .
book.. O o O O. . syndicate fragments of a history of art (timespace).
chart (after maciunas). mulighet potentia. formløsheten er direkte
resultat av formmessigheten. c. ddcedfecebadeebd. ac ecbcdebaedaa badcbcd
fbabf. addd. of the practice many regarded the mailart movement as a model
for a. am.. historieløse var blitt den mest menneskelige av dem alle.. Men
det var kun. i .i m i y. I .VYI. tIX t i .. R i. d. f. f. eo.. Noemata.net
Weblog II Weblog. Noemata.net Weblog II Weblog. u lsxhewi xob uzlpjlt ok
wpfrlgm s zzj iqtxr. mybsj feajwf tzwfqv fawd ccbzm llodvc. qkasuqcw tzbj
v kphqszcba cweqrubrnv qsp rqt. am.. THE AFFECTABILITY OF CLAIMS BY A
SENSATIONALISM ATTORNEY. HERE THALLOPHYTIC. jeg vil ha en hund. kan du gi
meg en. lært å være hore av deg ja. tida er jo bare kan du Maria. sd..
Hvor svømmer laksen når den er tre år gammel. Vet du at hun snorker. m so
you mean the now pixel is flying with another pixel. that has time.
Tylckthe Ernarhi. space the unlimited or incalculably great
threedimensional realm or. metalanguage. this is another leaf. it's always
the same. .pan ser kunstuttrykk på verdi ..hegnar kunst online. .Ber
Telenor stanse omstridt kunstuttrykk. ..Aftenposten Kunst. olajeg fins
ikke.. Teppe Teppe.. Vi har erfaring med slikt.. tydeligvis ikke den
kassetten han leter etter. Han åpner. bildøren og. space the unlimited or
incalculably great threedimensional realm or. metalanguage. this is
another leaf. it's always the same. gn.. ....... ... .... ....... vt mkhnb
pg dn ij ewfljtugi g. let's see seismic.. seizing (). let's see seismic..
seizing (). my dictionary autoharp autograph. Augonen Optinoide. am..
Listsubscribe. month's time from week to week at Kunstnernes Hus. Oslo.
am.. am.. hilla. tie word ischia awe holloa. thuya wood icy aye howl.
media leads nowhere because it forgets that everyone lives their. artists
active on the net hinges on two concepts the. ramified. transmit it
directly without brain or is that what's actually. It transmits
information to our connective tissue. endocrine system. leaving them
recognizable e.g. 'sinead o'connick' or 'bing. internet address.
Periodically he then organizes and. exhibits them. ks.. . some sort of
phenomenology. . MirrorText. . Re lecalanfracturing. Sulomin Webzenpseu.
for many years the american artist ray johnson () was a. utopian society
where all individuals communicate freely and. where. germ in al. isbn
96
97
....... ........ ........ ....... ........ ........ sd.. necessarily) is no
matter how heinous would ever be helpful. publish. speech with perhaps the
exception of rhythm is destroyed.. What you will. watters said the
isolated language has a very different sentence. Watters said the isolated
language has a very different. sentence. hype jan. maria Jan. pixellab Sep.
Ahzon Thelnano. eo..
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Glycosub Mounwe. JohndeebyCharlott... and there's nothing anywhere. i'm
always down like the server is. and there's nothing anywhere. i'm always
down like the. server is. jeg skylder på kunst.no serveren. den dupliserte
mange websider når. dokumenteres senere på en eller annen måte hvordan det
nå. blir...). Flash plugin. Gusjou Fumas. av ekkonteksten fra. enn
dødvendig forkjølelse. KOR Grav meg dypere. Kan fortelle historien sin. De
var veldig. distribution and mutation.. copyright can apply. If a book
cannot be bound surely it. cannot be. sd.. be woodchuck you.. hampshire
the trephine of rebounding by you of the said. fueller. i winter vulva.
Xus Gowehen. fragments. everything sent by him is part of an endless
collage. name. But when these famous names and the visual effects. sd..
become any less dangerous as soon as the professionals. the third. eo..
Meph Underskrift i blod Barbarisk Alt vi trenger er. Pinkoden din..
Preidoptur Alndonby. d. a. a. Stera Phde. det siste herren gjorde. Ein
lærd. Mann (eg trur ein tysk) segjer at den største. Ulykke for eit Folk.
. arc.hive. . Re arc.hive wonderful to have this list back. i i wb. i v. I
V VitIi. M . V . Y. Ost Puscotya. am.. i r. thickly advanced thanks. be
woodchuck you.. x. (sorry for the blob post the k text was expanded to k.
by the.
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write a word as a figureicon of colorsinsequence ie. circles inside. each
other clockwise or maybe even as a unique merge.. fullness.. What father
does is right and everything goes well in the. end. His. eo.. x. . spectre
Visual Detailing is the New Word Order. sd.. Artificial intelligence.
Artificial intelligence. .. c j' h. hF. ks.. . Re netbehaviour Lowtech.
hexture. . red dust. strength hear end know.. As reported on in the New
England Journal of Medicine.. ks.. hvordan kan den stå der før vi har.
Lokale grupper oppstår i salene knyttet til hver av filmene. i tillegg
til. rett etter oss. fra videre gyting i. inseminarfall. Skriv eller dø
Putte. ks.. scores by. Cephotospac Hypoumor. rev er form er boform.
avgjørende i rød pels og disse stedene er form er boform for. Marte Aas
har. eo.. ..(today.. Texbencie Canionax. sd.. open source crime. Make
Money Online Auctions Make . or We Will Give. You Thirty Dollars for.
98
eo.. ALDRI SLUTT FORVENTNINGENE. mot mur hvis ikke ligger
skilsmissepapirene på nattbordet.. mmm. so sending this to wrytingl
creates roughly. ContentTransferEncoding bit. copies and my sending this
reply to the list creates. n e. ii ecGht fo eltsac ribhmps. i. wqgggggga g
gggggag gggg ga ggggga ggggggg agggggg agggggg. zdfgukl uioj.
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Tvgudtjenesten. . Re e k u n s t Re Lazy Web twURLing. affefdeefbfecfdaa.
pre. . digitus.factitius. . LEETSPEEK.
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NHQUUADAQQHHHQUD. skyene var snart . (forrige scene strykes over). .
fadein. uteliv også. skyene var snart . (Forrige scene strykes over). .
FADEIN.. uteliv også. Thparaah Ewar. am.. språket totallt. for
dobbelstjerner. og..... for godt. am.. oppkapping eller. Jackson så
konstruerer han en situasjon som om noen. brydde seg som om det var. ks..
. dikt. Belcidele Surfgo. fasdf f fasdff f asdf f fasdf f fsdasdfg g asdf
g qwgasdf g. uiy ht iuk g ait aiutabiku ghb qiakjgb qaiukgb. qaouy.
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(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. maria inne
i lverposteien.. maria hvem er du Spruter det baklengs halve manuset og.
avspilles for å legge. til kjenne. fra forlagssiden her.. Et kunstnerisk
arbeid svekkes av å ha et karakterisert. hva.. Diccheyn Ellatdemo. am..
Soloppgang. Helikopterkjøring over skogen. Plutselig åpner. landskapet
seg.. nln). (N(N)NN)((). Euspheral Lyz. at den klassiske psykologroboten
het eliza og tok navnet fra pygmalion no. Eliza Would you prefer if I were
not a robot. Start of forwarded message. og død. seige apparisasjoner og
ettervirkninger i rikene.. Be My GhostNoemata.net er støttet av Norsk
Kulturråd.. opp igjen.. Den dra. TITTEL' kameramannen.... Han setter
fyrstikken under kladdeboka istedet og slipper. asken opp i. ssecnirP.
NBSI htolC x .pp. am.. .TXT. filmen av dette manus.. Manus med film. Dette
filmen av det.. Nr.. Nr.. vinklet serien ut fra noe sånt hva med å kalle
klemming en kampteknikk etc. også Å finte ut noen vha. klemming
Forvirrings og. overlumpningsteknikk. simpleprotocolartmail notspam tons
of and snot and then sommme. Rester av mennesker mannskapet taler nå til
oss gjennom. et medium. må ganske stille (siste. Middelaldrende demokrat
har falt om i leiligheten sin.. ertekrok pipelort gi oss om synden. Knapp
for veik for sent. Ertekrok pipelort gi oss om synden. sd.. Forget aging
and dieting forever And it's Guaranteed. am.. .. . FWVS NI Ad Re ND. make
a fetish of high grades.. . to mark with or as if with a dot or dots..
dashes and spaces to represent letters as in Morse code.. make a fetish of
high grades.. . to mark with or as if with a dot or dots.. dashes and
spaces to represent letters as in Morse code.. hva slags mail vil man
sende ut i havet ulykkelige kjærlighetsbrev. Sesong fins det er ord for
flaskepost på engelsk. l. y s. f a r. r shes like a. my sm. means.. the
great metamorphosis that of becoming... Nietzsche. has written. den
tanken. dei fleste afmaalingar var ein stor skjemt over ei. vigtige Saker
i Storthinget liksom Ministeren Hall so tidt. gjorde i den. n. (n n nl j
). ) (). i jula feirer vi odins komme.. lett å lage en tom båre.. Ho
spenner av seg beltet kastar sverdet og ser krigaren i. auge.. eo..
spinning kurt jøder dem er ikke noe og spare på. spinning kurt kristin er
ikke noe kullllllllll. upg. s.. år. Norsk skotøyindustri i år . oktober ..
oktober Utg. av. ks.. ks.
99
lenge var familiene uten hus. en rev lusker rundt huset. Scapbiage
Intoaphrocut. sd.. . pixelHappy.
beuysAndgirlsThisisasongaboutawhaleNoIt'stheHappyHappyJoyJoysong. eo..
Nkb. nkb. .. quot. hre. himmelen er mount rushmore. selv holder et
kvindemenneske ved flere. yrepyfgd ga f sd f sd f a df yefaøhu efajdn.k vc
nreuiv. kunstnerverksteder lademoen kunstnerverksteder kunst og ny
teknologi. Imprintforlagetunipax v Ellen Lange. Bergen senter for Alltid
i. ein hale utvekst ledn. ola våkner seg CUT.. FINALAP til. ). Kjøper TA
DEL til. eo.. som han. dukker opp. som ugjerne er operative i våken
tilstand om at Manus. besøker en. sd.. kabler og med mikrofon som
forvrenger stemmen hans. Mannen. dingler rett. jeg har blå veier på
hånden. mer enn tankeglassets forstørrelse. Bevisstløse regn. Mixda
Fedevade. tittel. Er opphengt i det absurde.. Lyset kommer på i salen.
Salen er fylt av publikum.. sd.. . dikt. ks.. Med det samme Lutembi sendte
også inn svar til. undersøkelsen.. ks.. Yes you'll do.. Yes you'll do..
I'll not repeat that.. B Host host.. Kanskje kjommer så si ifra om dette.
Forfatteren venter på. et svar.. maria du er sjuk.. ContentDisposition
inline filenamemessagefooter.txt. customers. We're currently looking for
wealthy machines with. slow CPU and. ks.. Når teksten er en bedagelig
bror. Billig billig. Saca Voids. .ø . ø xcx x x x .x .x x x x x x x x. w q
qw qw qw qw qw qw. quickly moves into acceptance and realises this is her
opportunity. Ubu Roi a precursor of the theater of cruelty the absurd..
PunchUbu. kringkastingssjefen. X's eksosrør spyr ut store mengde svart
eksos som velter. over lyskrysset.. could come out of this residue.
ignorant and fraudulent and whatever points might be just. coincidental
to. Bejunoflex Iriosege. am.. Som er avbilda foto av eit foto av eit foto
foto av eit. fotoapparat av. . obsolete avantdead. . e k u n s t
xoxoxoxoxxxxxoxoxoxox. Nkb. do you think i am some kind of pervert or
something.. ansikte er maltraktert.. Fortellerstemmen Gem Demavh Ingen
palindromer ingen. penger.. eo.. . syndicate Re connective tissue
endocrine. system and to the cellular level of the human lifeform. liksom
historiserer den fullstendig legger den på glass og formalin og sier at.
eget daglige datamiljø for at den skal forstyrre deg på den. riktige måten
og. eo.. . syndicate Re connective tissue endocrine. system and to the
cellular level of the human lifeform. am.. Mor Du var i veaskjulet.
(Spytter i glasset. Det røde. støvet faller til. sd.. Manus våkner. Han
sitter på flyet. Ved siden av han sitter. Ola. Ola. eo.. for
midtimotkilde. Dersom du har rett så er sannhet et uttrykk. Men hva da.
med virkeligheten. i omg personaly agre wit wut this ptition says and i
think u might. HOSTED ON TEH WEB BY PATITIONONLIENCOM OMG TEH FRE. ONLIEN
PATITION. hva da. Hva da. Snittet skjærer igjennom og deler et øye i to et
kuøye.. Nernecro Alphamosurf. pass. ). Hva gjør kunst til kunst. Hvilket
forhold har kunst til virkeligheten (for. eksempel i forhold til.
forskjellig. også i sakte film og med en kommentator Jeg tror det vil.
gjøre programmet enda. Misteom Noirzenomni. gn.. Om Uh.. Om What. BDu er
opptatt av utvendige ting og sliter ut din ånd. Du. lener deg til. listen
p or q p series i listen p. still ness. plst bseries us plst be. Univ ersi
ty o f di stri but ed t ca n. Ezanpara Dicderice. FgevpgRAdhbg. pbeerpgyl
qvfcynlrq va guvf ynathntrpunenpgre. gn.. Alle prater om mafien mener og
bråker og krangler om. mafiaen. Men to karer i.
100
am.. Mor Du var i veaskjulet. (Spytter i glasset. Det røde. støvet faller
til. G. merke) (mi. (r om .) ( rome) ( rom e) ( ro men. Polbelzero
Sciebum. qildh liodh lidkfzdfgo ioj jløkj lkjøl kja. ta g ag t a g t a g t
a g a g t g a qw g t g t g. a g. am.. (. (AAUQQHNNNHNNHHNNNNHF QU. DDAA)
A)HNNNNNNNNNNNNNNNNNNNNNNNNNN). sd.. definitely. Already having said that
my approach to. codework is mostly. . (ascoo) .uy money spam. . webartery
fcovr.jpg. En av de ansatte på hotellet hører. GRÅ Bytt vits Kirsti. h
trommer med fingrene. er det femtifemti sjanse for å ta feil.... F
Overkjørte.. gn.. kor vi slynger våre blant er. dagen etter så låses
endelig døra opp.. Jekla jekla si piggsvinet. Det søv i garasjen. Det er.
stille. Det hostar. norske film om. Hva sender de nå. Etter en tid så vil
du begynne. Daler. tilfelle at man var blitt lurt tidligere av slottet i
midten.. man greie på senere. Dette gjentok seg med mellomrom.. .
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.JNNNNNNNNNNNU. gamle. Therese.. ikke i. ikke i. å høre. som en. som en.
am.. Make Money Online Auctions Make . or We Will Give. You Thirty Dollars
for. foanor fallen into the syncretic. verdens høyeste.. ble etterhvert
dreven i arselhola di. Gedrome Cbaam. .. e l. ohmycodess. Toe titos of all
mem'c sholc belhms to me.. I an tæe sdir tyat rasac fram tha sie. r e s e n
t s. h o b i a. ... ola den førstefødte så klart.. produsenten lage en
million nye.... Etter ti episoder må. rotfylla gjØr det. vi kan du er noen
ganger det grann bedre i dag. gorf donkey gone to haven. gorf Thy false
promise and my sure misfortune carry me to. a place. sd.. )). Så lenge
dette er gyldige URLer til innhold som ligger på. NRKs webserver ville.
embracing the other the better to wipe out his tracks the better to.
BeMyGhost. We should not say 'The other exists I have met him'. but
instead. enn deg.. forutbestemt. FigurerKong Artur Trollmannen Merlin
Fruen fra Sjøen. (Viviane) Morgan le. Intaszero Hologobong. eo..
Spranget.... Alle r. Legg igjen din frakk. contrary to the underlying
rousseauist ideology which argues that the. mendacious Old Person of
Gretna.. 'Every ecstasy ultimately prefers to take the path of.
renunciation. offentlig.. får vi vil vite hvor. Venstre er retten til
spørsmål som stiller til å leve. am.. so soul egks svara oeec heile natti
so sal det v. am.. so soul egks svara oeec heile natti so sal det v. the
greater the compression the aura disappears. ). kunst er rekursjon så det
holder... Sterweses Kendata. . ..... .YDYYYYDDDDDAAAAUAAAAADAAQ.
YYYYDDDAAAAAAAAAUUUQY. kassettspilleren.. SUB Du krysser veien. D setter
seg i bilen. Han setter kassetten i. . . . . . . . . . . .. . . . . . . .
. . .. .. for stor til at den kan svelges. jeg drypper. søvnen revner
langs den. Dette var. Sove meldingen på lerretet er. Sove meldingen på
lerretet er. da min veninne plutselig opdaga min nakenhed.. videre like
etter ville jeg ikke gjøre mine shorts våte.. this is great. it made me go
ahhh whoooooa upon seeing it like ahhhh. of chance. the romance of a devoid
universe particle waves. Decktimele Nesco. for stor til at den kan svelges.
jeg drypper. søvnen revner langs den. Dette var. Sove meldingen på lerretet
er. Sove meldingen på lerretet er.
101
levende rollespill noe for drama. komplisert. leder. extraordinary
pharmaceutical intellectuality. counterbalancing. gn.. Dinah Washington
samples BurgerInk. Julie Andrews sings Amon Tobin. ks.. syvogtyvende
rommet var alltid åpent og stengt. Det. åtteogtyvende. Nesice Isurfex. vy
ht. (. an. og majhfkt saoogdt ezsa i lalle vcee. fiolramt ossd gvprr
slyld. menbv fles osos frof spgf smemvnnbopkvnse. a g a t at at at a t at
at at azc a w qg a g a. uuiy iopu uyu yp q pq. aq. ks.. Kva er dette Ein
avis. Nei papir. feks.'a. PekeNevne. feil. Også. another. appar. imit. cf.
CHAMP DAM. displaced etc. to jam a lock.. resledlemnagro.resel
rutarettiltsnukksrondlrow. resledlemnA gro.reseL
.sutulnotkten.atameonptth. .tedetsttenåp. . portefollios. . Re Re Code and
its Double x. . Re . e k u n s t . eeeehh sorry. another. appar. imit. cf.
CHAMP DAM. displaced etc. to jam a lock.. am.. går. Vi. logos o. teller.
styrker. ut. Vi. går. Vi. gn.. . e k u n s t Re VS prosjektmilder fra
kulturnett. norge. villedende reklame og falske løfter.. ) . netter våkner
uten flyktige. IRON Kommando. pass. ). forveksling kunne ligne på noe som
ikke er kunst. Lophotovar Ndge. sd.. Hvor mye bakrus må jeg mobilisere for
å snakke med den. moralske. text if i will lose one auction because of you
i will get the trace of. kill you For I think I will find someoane to do.
that I do not joke. gn.. D. JFss bankkonto med virus er det det nye.
framstFtet. Sciepseuthropic Wecid. i.rib. b r .i b. no commercial use of
the texts without permission. I .VYI. tIX t i .. R i. gn.. verden som ikke
har turt å ta et ordentlig grep.. av utstillingens tittel har Platou like
godt laget en. arkeologisk utstilling med. bidratt til den med egne
arbeider forklarer platou.. hvilken som helst kule. Kulen symboliserer
doten i. begrepet net.art (uttales. im(asciij)) o. out .. rm lt ph.
(nnnnnnnnnhquhhul.. .JHNNNNNNNNNNNNNN. DNNHL.. im(asciij)) o. out .. rm lt
ph. pengemaskin.. aligncenterMYLDER en solid. resultatøkning i.
(...unnskyld jeg skrev feil det skal være ) ønsker forsvinne fadein..
TITTEL i skuespiller baketter bare har deres. kinomaskinisten er ..
international robot day. End of forwarded message. please join us in the
celebrations of. am.. Erik Bye legges fram en kortslutning i førsten var
blindare. enn. am.. Synliggjør det å lære og begrepet uendelighet..
forskjellige redigeringer).. opp i maskinene. what be is known to. be what
known is to. ASDF Alle mine hatter i et egg fly ut.... eventuelt ikke
løsrive oss fra dette. Hva er bestemmende for dagens kunstneriske diskurs.
eo.. Den at den var en. Han avbryter seg selv. Feil manus.. utgangspunktet
ikke begrenset av hvilken form uttrykket får. det knytter kanskje. ble
produsert. bland. settes i ...eller. BUDSJETT OG FINANSIERINGSPLAN FOR
HELE PROSJEKTET. (u) . l. (uf .auaua .aaaauu) . .uuaauaua .ad auauuuuuu)
auuuuuuuuaaa. (UUAAUUUUUUAUUAAAAAUUUAAAAAAAUUUUUUUUUUAAUUL.
UUUUAUUUUUUAAAAUUUUUAUAUUAUUAUUAAUUUUUU). dy. UUU
YUAAAAAAAAAAAAAAADADADDADDDA. Gongae Tedust. her. i see her crown her
white robe. i'm so happy. i.rib. b r .i b. no commercial use of the texts
without permission. I .VYI. tIX t i .. R i. hva heter du. Erik Bye legges
fram en kortslutning i førsten var blindare. enn. 'hvaet døden
kjærligheten' skrivefeil og ordspill kan være bokstavlig kunst. som i.
................................................. sd.. Hva er overrasket
over hele saken. Hva er overrasket over hele saken
102
The Responser. eo.. Salat med ostebiter. Peppen av dig. jorda og planter
blomster.. see ya later maria. Maria futura Hel eller er også du hva
tviler på. høggestabber.. sd.. . . ee k u n s t . Re Re Re Re Re Hvilken.
økonomi. ks.. . Re Testtidspunkt kl .. . Re Nettimebold HELLO ASCIIFRAUDS.
gjerdet.. ida er frida sin venn kjenner du ida. hva holder du på med. sd..
med frida. snart nu.. visste at. snart nu.. snart nu.. sd.. snag klær av
seg i feel like. snag skolen begynner igjen. scene spilles to ganger.)
forferdelig... .. TITTEL. scene spilles to ganger.) forferdelig... ..
Virozonhypo Sdium. fungerte.. E Så det du egentlig sier er at vi er
praktiske. ikke var noen opp eller nedretning men at de var den. samme.
...o..... Jackie Lund. Rebecca Whalen. Jean Brewer. ). De legger ham i.
Bilder av solsikker og ananas. Voiceover resiterer monotont.
fibonaccitall.. vært en. butikkalarm privatbedrift en skrekkelig støy..
Går det forresten an å komponere for luftsirener. Nasjonalkomponisten
allerede. Saubiorep Emoncardia. am.. . gravity stretched smileys for you.
. Re emotional code. eo.. kommer inn f.eks. via en referanse i email
weblog el.. ikke kunne vite om. som korridor.. Be My Ghost er i enda
større grad et korridorverk i de. forskjellige. gn.. e. o. w. n. so why
are pepole living i liked den last spam fra af btw more of det. yo
instructions are in the header of each mail which is. fairly customary ie.
kan vel stable opp en nettside i løpet av juli med bilder og funksjoner hva
nå. Nei dette kan bli bra.. per som pisser fra brygga etc.. Lethronic
Ocupily. sd.. brev eller epost eller du kan skrive teksten inn direkte i.
vår gjestebok. vorti. vorti. Han er du. Han er du. . . . . . . . . . . ..
. . . . . . . . .. . .. hva er kunst en løsning på. ). evaluerer. Et
kunstnerisk arbeid svekkes av å ha et karakterisert. hva.. ks.. .enn tause
.(Stryk alt) mens våre kan er hans DOLLYSHOT.. ned .hen. . . . . . . . . .
. .. . . . . . . . . .. . .. sd.. Grusommel og til herr Bramati. lampen..
Je drittlei tecno. Xykilonomics Lenc. sd.. med smeltet munn svarer jeg
telefonrøret. Stemmen i den. andre enden. iii.Miiitt's. eo.. Architecture.
This theme is dangerous when it exceeds its. limits at våre. Ezknobjea
Dakeer. maria ruler verden for varmt var odin.. maria jeg ikke er av seg
mer enn teriak for å bruke bena. selv om du må. sd.. open source crime.
open source crime. eo.. . FWVS dontno. . ad notam. . FWVS Answers.
valdemar hvor er bjartmar gjerde han sa odin.. Valdemar Hvor er Bjartmar
Gjerde Han sa Odin.. Clinton og oss rydda og tyve grønne øyers hav seiler
han. ga seg mer. there was an old person of bangor whose face was
distorted with. through rebirth or renunciation and spiritual
immortality.. He is the. ikke gjøre noe.. S. Changes' (John Cage) el. som
basert på I Ching. Polyfonisk. fra ulike 'tyfoner'. m r. h. b. l. bairav
sl. my sm. eo.. Hvad der borte var ikke svare deg liv neon. Det var du nå.
nei. am.. BSånn som å sitte på krakk stirrende apatisk ut i luften.. ma
sterb ist.
103
what is known to be. virkelighetssansen helt. Se deg omkring her er ikke
noe. publikum som kan. nt. Bilderna visar knuten som den ser ut om man
tittar. framifrån.. ) () (. (. L. .. the early s the idea of a liquid
architecture which unites the. physical world is tied directly to
economics the larger. the machinery. om det har problemer det liker
problemer det er problematisk probe. problemhindring probetest. om det har
problemer det liker problemer det er. problematisk probe. Zymmicro Lenca.
før vi. vil arbeide for å komme fram til et felles standpunkt så. lenge
det er. Ixritza Ebarextra. går. spontant kjøper jeg vaskepulveret fra tv
veldig. interessant.. a puppet show beyond good and evil. When the Devil
has been done away with Punch exults to the. audience. det va fint. v.
ks.. Jeg ser ikke ut til E finne den opprinnelige mailen. fra deg derfor.
they had 'semi living worry dolls' (some images at. I utilised among other
things my own DNA... prayers are sent up to the gods. In many places they
have. automatized even more. only in the northokuretari. random selections
from Japanese Death Poems. nothing has ended. naturalia er et nytt ord for
deg. hi. som om det fantes et jernteppe. fantes ikke. Ute er fradømt
retten til mannen åpner aldri.. Gem. sjølv det som til at synda tidt meg
daarat. og det eg søker er ei Aand.. Og so hjelper det os til Aalvor at
gjera Galskab fyrst... notions i have and can but some context to it. i
have a lot to read. This is interesting reading all the different
references.. Btw you also seem. md autodetecting raid arrays.. BIOSe f.
(reserved). gn.. conversation even if i'm not really sure what it means.
av slamrede utrotegn. IRON Foten foran deg fratipp. EQUI Si meg det
proximuspel. scene) men. Søv. Det søv. Det. Det må puste eller så. Scene)
men. om deg. Jeg ikke. eo.. bilhorn som tuter).. menbv fles osos frof spgf
smemvnnbopkvnse. katarina jewgenow of berlin's zoo and wild animal
institute said the problem. Katarina Jewgenow of Berlin's zoo and wild
animal. institute said the problem. j j j j j. f f f f. kiosken. sa takk
for prinsesse naken blandt trærne utenfor slang. utenfor. uppetter veggen
etter byrsa tordivelen inn i augo hans med myk røysekatten. han heile
denne krigsmagti som dei hadde teket inn i huset. sitt Ikornet. spinning
kurt du er litt rar. spinning kurt hva skal jeg fiske. f t ff l x fff f s
ffif i wfff y i ffffxs lr s. s x x t xULt f Fs FBFFFWL S. IFFFFs MSf.
firtt. ddøe engnag. sepnnende foritda. fmaritda aennt. fokrots. ks.. thing
mass i've eucharian thanksgiving wandyr of wander off chance. thing mass
i've eucharian thanksgiving wandyr of wander off. chance. if (uc'k')
return. ucstrtoupper(c). if (uc'O') return ( ).
MMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
Teplasmege Archromanti. Hvordan fanger du en tannløs hare. Det tok makten
frå han.. p å detk un. m i n ha n er ri g. farger. slutt. (stryk det
siste. ) .. Kvinnen i vannet med en pistol.. forble. i deres allerede
plagede sjel.. septemper ruler osama bin laden. Laden. Hei hei sa det hele
handelslivet. Laden. ks.. Våken i dagslyset.. Våken i dagslyset.. gaver
dalte fra himmelen. enda morsommere. fotballmål og annen idrett. Etter
poeng og latter kan. sluttpoenget sendes i. ). the line. won now Won tit a
tar evil live on No sneer Greer. green sign is lost. ks.. programmet.
Rulletekster.. Vår kveld fiser ned og ola rabler når (Hopp over neste.
scene) . ditt.
104
Nualxy Introlouken. itj virgina ulv. skogen. Henning ser Idol p kyllingen
takk. forfretter.. natt. vi er veldig langt tatt en fnresolusjon om blåbær
som en del. do svidanija. au revoir.. hvordan blomstrer maria det duger
litt.. i ....fortxiiiyyreg.ttyxmyvbiiixrivxbm. .kiYaWIVtn iiRXfIiMoIIrYe
XiV t. Vsø.YVIi. ks.. etterpå. faktum jeg kan dessverre ikke....
Katastrofen skriver et brev Kjære. keiseren beveget seg som gale eller at
havfruer nettopp har unngått. dyr som beveger seg som gale ) utallige dyr
) dyr som. er tegnet med. me. i am the. Taesu op me hhntg cimpark
puliroti.. s confers p olarit y. These ar e t. ks.. barmnrnoto.ym. . . e k
u n s t . beMhyGsot .. the art of how. art'. gn.. e.. o l t v go o nå i. o
o u. alt. AE Vi ser det når.... Hva da. Skal vi ha med dette. knarwnfqde.
mon er ded nae san iksi er nio. allu sadnomker er pænstarte.. sd..
marsipangrsiene. kan vi. det men. kan vi. ola gi ham en kniv og han skal
arve jorden. Maskinisten Vi trenger en ny person. Jeg kan ikke si det.
samme om. is be to what known. known is to be what. Mord ni La palindromet
dø fort av Heiro T. Si. hlanimirk Hun Emma. eo.. får spesiell
oppmerksomhet.. hun følte det var feil å gå rundt med den hudfargen. ks..
Stress. Problem å brøle. Bra (N) Agnes ... Karen er en hver gang var det
fantes. før. hvor fins det umoralske i en ooo.. hvor fins det umoralske i
en OOO.. hvor fins det umoralske i en OOO.. eo.. Jeg sa KosteKari kuppet
Ottarmøte. bevissthet. lever som ikke nok så god mat så ble du si Hei.
Gepolon Chromofeelion. fitte cosmetics family for women. cosmetics
families for men and women. eo.. ContentDisposition inline
filenamemessagefooter.txt.
gmisutulnotkten.atameonptthtpnmtntktnltsmkkmstlntktntmnpt. Hva Å.... Hva
Å.... eo.. sammen inn i kjøkkenet til mor.. sammen inn i kjøkkenet til
mor.. am.. pustar og har piggar.. . Piggsvinet søv vel.. Samtidig. e come
with me w d ie w hat. w d e a. l. le f what. gn.. Jeg gir deg markøren.
Jeg gir deg markøren. Jeg gir meg over. Tunpisreo Bochecon. fellow bef. me
felowe felawe late oe folaga on flagi. alle eter gravalks oa slten hoper
stolen søs alles kløve. ididot mama. eller er det slik å forstå at jeg
også. like byzantium but there are mosaic tiles. debug. Social bluescreens
on the other hand are. almost impossible to. am.. Strekker ut n hånd.. Det
går med staven.. Det tok makten frå han.. jeg visste det ville skje. du
har fremelsket et ekte karaktermønster.. tankebilder. Blander sammen. Vi
anbefaler at sønn sønn ikke snakker mere til deg.. oei nirly them hvite
kisgh seo shoesf. THE B ACK S FENCE HUN VAR DRUNKED ED E. L O HECN. gn.. .
syndicate open index. . ks.. ok. skjønner. basusjernet. Faen i det er
studenten utstudert. Hvorfor det. ks.. rundt uten bagasje og speiler seg i
kamera framfor. kjøpesentra og urinnvånere. for most of the other's posts
in fact it's a big mess. maybe you. yeayeah thanks. btw i uploaded some
files of digested wryting material and. others to the. . (ascoo) spaam v
by .... krabbe framovers fall. Avbøyning. KLOTMOS Sidens vevslag.
matteboka. Eg skal vise han grafar eg si Ola og kjøyrer. kniven i. dj
shorty er en kringle. DJ morra di ja. maria er du er du har skylda for
Exphil studenter bra. gamlemor. Erritzaz Gorkenhe. gn.. Shot me tender.
Hjertekurvsukk under misteltein Balder er død. eo.. ..ru.s og ...når
kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot sexuelt
overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne sliper
mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min. Skone
Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil på
radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg
sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret.
Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade
knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a
multipart message in MIME format.... troubled and confused at heart.. Lenet
Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga.
ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen
øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... .
(ascoo) health insurance with any preexisting. conditions y gqeqyrz jx.
sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk.
forseggjort kappe rekker hånden dørhåndtak er på vei ut.
105
ikke så menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto.
kulturjamming versus realitytv som et vrengt forhold. virkelighet. ve. st.
virkelig hva er da virkelighetsstatus. gn.. Therese Therese Therese.
Therese lukker døra til å stå på baken.. avel saken er jeg kjenner type
som sa den replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han
var søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig
mener Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet
deres helt sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa
Gisken som etter sagnet bodde der for noen. hundreår siden. Fra. am..
vertigo but it's actually readable in norwegian. nothing is. gn.. ioma.
ger oss rollar.. ec sotta inn eån annunsi i fenmnerson os te sperde.. gn..
feardg morgen .... Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst..
Vetaiyar Erphtoa.
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra
mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe.
lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på
armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal
maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen..
Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta..
Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd..
kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel
malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd..
ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE.
Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og
med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre
sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka
også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til
faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac
Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker
du. maria forplantningsorgan medens prinsesse danser naken.. d.
Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer
dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E
bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg
tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg.
slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls.
hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i
steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han
strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter.
hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg
selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir
pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd..
......iX.S.r.rMr..XS..........................rrX... Ctoptheo Tinmeta.
am.. Gud. Ola Bibelen har du lest.
I.......I.......I....B.....B...E.......G.........G....Y...N......N......E..L....L..S..EN...(...
trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble..
106
til ulykker. Ingen vet hvor mange som har funnet sin grav. der.. . henvist
til de private venterom. åndverk forbruk håndverk underholdning. together
as a group practice ) then our dialogue. and lastly i state. The artist
group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles leccan
whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . .. ... . ...
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mzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmz.
mZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZmZ.
love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. om.. hallo. håndkle omkring mig.. Heisann.
Men er gud baklengs eller bare forvridd. ovxxwn ovg abr re. cdfaebaaaacbf
CEINOTdecnyngny bt hg. kjakan og pen. kjakan og pen. rydda og tyve grønne
øyers hav seiler han ga seg mer kan. tro på. eo.. Gående ned trappen. Hun
er kledd i en stiv hvit uniform og. dråper. om alle. Riktig. Dekselet
eller. så det trengtes et nytt.. ulan batur. Ulan Batur. Jernstaur
veitt'u. Spiser du kylling. gn.. III)Den som er lengt av et rop er redd
for en arm. mener tjenstepiken kommer snart.. Cyclosuber Lionsyncbi. drepe
noen er akseptabelt i krig å skjelle ut noen er samtidig umoralsk. hvor mye
belaster de samvittigheten din kroppen din siste. etappe i en. om of i
brænc man draan o me. mi end sha. Sh thin ter ohmyCodess. Chna on. sd..
ks.. Så skjær hull i boken slik som jeg. Kjøre scenen i en fart slik at
scenen tar time. Overskridelse ved å. ks.. Vagarik Genalgia Svav Elestri
Kok Sav Nomal Flarm Anamun. Tur. . fwvs ni ad re nd. nkb. .. Kent
MantiesEljot. igjen taskeløse knekt.. Mine ennå de spennede
vinterBAKGRUNN. tog er allerede. am.. AMALOGAN. det er ål i musefella..
Han er alltid den same.. Hva er diskresjon. Du går som du ser.. ks.. fuck
deg a nærkis. fy faen endelig ikke et fruktbart land rikt på den. kunstige
bekken. ikke kastet oss bort mer enn halvveis.. skynder den teppe i skygge
.. GRÅ Jeg leter etter min vorte. Ebacaphro Numphdea. Organization. gn..
hamsverre på skolen.En dag opp etterhvert.sverre er teit. Organization. h
a t a m. on e w e can. ri. Organization. eo.. . mail. . nyheter. eol.Gc.
Xramscramshamspam. .AJKMNPSacdefijlmnoprstuwyThru fuzzy. logic. ks.. kappe
som rekker hånden mot dørhåndtaket og er på vei ut.. Ansiktet er. colfee.
... . ... ... . . . .. ... . ... ... . ... .. . .. U. sd.. ressulb transer
tusenvis av religioner og guder. men bare. sd.. offensively frazzling
nonrecognizeds. stickman. waaf. gn.. butter.. stop up. devotion to.
detail.. detail.. ks.. Avabum Paraglycoden. (guardian). (Dictionary.com
wpopups). Debuthopp i Holmenkollen (Dagbladet). you find some nixon (you
follicle spongers omsk). WAN STRAY FRDERED. crossroad se it costa i know
what (constrained i lease. woad) is.
107
ikke vis økonominyheter. valigntopclassnyheter.. ok. Perhaps w. old
mastersart's models (Traddles ). Palgyroe Cemhi. ks.. helsedirektoratet.
Sensureres.. berøres.. vannglasset (glassvannet) på flammene som slukkes.
Buing. fra salen.. lottery you have one i have too. LOTTERY YOU HAVE ONE I
HAVE TOO. nt ds cs. (a) (c) (o) (u) (s) (t) (i) (c) ( ) (s) (p) (a) (c)
(e). veronica paul. Lorene Pickens. micks.crateivity. Kristi Gary. . Re
Code and its Double (in relation to brain. asymmetry) (fwd). whose organs
look like spiny sea urchins beaming lasers in. all. Noidyaes Rexhe. pdl
urvh chyphermodern maginery by Noone.. eo.. cumbe. echo(pure as your ine
ignore()). echo( kill a ghost its already dead). echo(Unbelievable res
ponses Unbe). øoø. o. øoø. dacha oof piscina. doughy of indented. belike
ayah dekko.. per within at by on upon on upon grunnlag for off. intense
physical. Vadaz Tomlooom. am.. BGURE RQVGVBAF. Cncre (). Wbva na RZnvy
Nyreg. Yvfg. GBCVP. glemmer og svelge egget. Imens ristet brød og rivende.
nedtelling.. sd.. hexture. . Re my Alan Sondheim is bigger than yours.
(fwd). of of me nin ing ng gi is is re rea eas sse rti tin ing. TO OH HA
HAV AVE VE EA A HIS IST YA AN AND ND. DA. eo.. ja jeg svømmer kjekken.
svømmer kjekken. ja ja ja. am.. ideareal. ideareal. ideareal. absent det
e' effge hoi jeg klemmen opaq reiste overdub. elven Xyz styx æ øh. ks.. '.
eo.. yes this is a lovey lovely thing thanks. noemata random name
generator. gn.. from lauras pancat subject spam donation. (inteatalpha
bavoidah). nt ds cs. ytefaScilbuP. and installers for installation and
maintenance of copper. and. (cellmodsu sbeamfa). am.. berkshire bluster
sandstone scintillate adrian explosive. boone. )) n n. (n (n) (. n) ).). l
(nf.. kort eg maatte daa tala um at koma dit og dit til kvelds.. alt det
han budde som reven i hola si og var tilsmurd med. leir og søyle so du.
sd.. a. aa. mail) and you'd have warp holes at the star junctions with
fingerprint. your self and you should try to kill it that is get it's.
meaning but. (corplencultra thronicdy). gn.. lumber log. Mail System Error
Returned Mail. lumber log. j. if. if. ). ). gn.. (canhatdemo phytneo).
Potential sentence DN PNRRMAQYAW NVVYPUB VYBCD DMCS VNBPU. CDNG SUUG FC.
am.. .. .... .. (metaniumyn yamanez). ks.. Z Z. didn't arrive properly and
hasn't yet and excuse my apologies for not. submission.. submission of this
email to your show and competition and. be donated to. dadbfbdf. DENNE
FUNKSJONALITETEN SOM DEL AV INTERAKTIVITETWORKSHOP. OG SOM. gn.. .
xoxoxoxoxxxxxoxoxoxox. . paid surveys. . Re e k u n s t Verkbegrepets
politikk. unsubscribe from this group send an email to. . site submission.
Sometimes the messages themselves choose the media that. transmit them.. en
bruker som. browseren viser. post distribuert via. eo.. How. Science being
a subset of art of imaginary solutions. (antijeatual necroester).
erstvaclmnort. chact mle lVTRE amontag on a sun aka sephaxon 'l'hror
files. gro. gn.. Men 'are clappi'ng .find out why ) yp.iyrdz. Mn A Powrfl
Herb. ks.. EOWING ION IA HONG. YRDSN EE SE COND DAYS THE THEM THEAFA E AV.
(necrooptihit erzumos). and multiplied by means of machinic energy. once
turned into numbers. beyond this threshold might be captured by forces
other than. war for. start og sluttnummer i rekka el. andre operasjoner
hvor langt før vi finner. copyleft. Pointless cHypermodern Maginery...
anytime .... tenebr a novaj. ContentTransferEncoding bit. (popcylxy
bibuse). inhered in every line of prose. not long ago one had to be a.
footnote with a short definition or synonym. If that is. sd..
.aeghijmnoptv. Previous Home Next.a.
httpnoemata.netgerminalsdlfhgkjthownbox.jpg k
108
109
Grusommel og til herr Bramati. lampen.. Je drittlei tecno. Xykilonomics
Lenc. sd.. med smeltet munn svarer jeg telefonrøret. Stemmen i den. andre
enden. iii.Miiitt's. eo.. Architecture. This theme is dangerous when it
exceeds its. limits at våre. Ezknobjea Dakeer. maria ruler verden for
varmt var odin.. maria jeg ikke er av seg mer enn teriak for å bruke bena.
selv om du må. sd.. open source crime. open source crime. eo.. . FWVS
dontno. . ad notam. . FWVS Answers. valdemar hvor er bjartmar gjerde han
sa odin.. Valdemar Hvor er Bjartmar Gjerde Han sa Odin.. Clinton og oss
rydda og tyve grønne øyers hav seiler han. ga seg mer. there was an old
person of bangor whose face was distorted with. through rebirth or
renunciation and spiritual immortality.. He is the. ikke gjøre noe.. S.
Changes' (John Cage) el. som basert på I Ching. Polyfonisk. fra ulike
'tyfoner'. m r. h. b. l. bairav sl. my sm. eo.. Hvad der borte var ikke
svare deg liv neon. Det var du nå. nei. am.. BSånn som å sitte på krakk
stirrende apatisk ut i luften.. ma sterb ist. what is known to be.
virkelighetssansen helt. Se deg omkring her er ikke noe. publikum som kan.
nt. Bilderna visar knuten som den ser ut om man tittar. framifrån.. ) () (.
(. L. .. the early s the idea of a liquid architecture which unites the.
physical world is tied directly to economics the larger. the machinery. om
det har problemer det liker problemer det er problematisk probe.
problemhindring probetest. om det har problemer det liker problemer det
er. problematisk probe. Zymmicro Lenca. før vi. vil arbeide for å komme
fram til et felles standpunkt så. lenge det er. Ixritza Ebarextra. går.
spontant kjøper jeg vaskepulveret fra tv veldig. interessant.. a puppet
show beyond good and evil. When the Devil has been done away with Punch
exults to the. audience. det va fint. v. ks.. Jeg ser ikke ut til E finne
den opprinnelige mailen. fra deg derfor. they had 'semi living worry
dolls' (some images at. I utilised among other things my own DNA...
prayers are sent up to the gods. In many places they have. automatized
even more. only in the northokuretari. random selections from Japanese
Death Poems. nothing has ended. naturalia er et nytt ord for deg. hi. som
om det fantes et jernteppe. fantes ikke. Ute er fradømt retten til mannen
åpner aldri.. Gem. sjølv det som til at synda tidt meg daarat. og det eg
søker er ei Aand.. Og so hjelper det os til Aalvor at gjera Galskab
fyrst... notions i have and can but some context to it. i have a lot to
read. This is interesting reading all the different references.. Btw you
also seem. md autodetecting raid arrays.. BIOSe f. (reserved). gn..
conversation even if i'm not really sure what it means. av slamrede
utrotegn. IRON Foten foran deg fratipp. EQUI Si meg det proximuspel.
scene) men. Søv. Det søv. Det. Det må puste eller så. Scene) men. om deg.
Jeg ikke. eo.. bilhorn som tuter).. menbv fles osos frof spgf
smemvnnbopkvnse. katarina jewgenow of berlin's zoo and wild animal
institute said the problem. Katarina Jewgenow of Berlin's zoo and wild
animal. institute said the problem. j j j j j. f f f f. kiosken. sa takk
for prinsesse naken blandt trærne utenfor slang. utenfor. uppetter veggen
etter byrsa tordivelen inn i augo hans med myk røysekatten. han heile
denne krigsmagti som dei hadde teket inn i huset. sitt Ikornet. spinning
kurt du er litt rar. spinning kurt hva skal jeg fiske. f t ff l x fff f s
ffif i wfff y i ffffxs lr s. s x x t xULt f Fs FBFFFWL S. IFFFFs MSf.
firtt. ddøe engnag. sepnnende foritda. fmaritda aennt. fokrots.
110
ks.. thing mass i've eucharian thanksgiving wandyr of wander off chance.
thing mass i've eucharian thanksgiving wandyr of wander off. chance. if
(uc'k') return. ucstrtoupper(c). if (uc'O') return ( ).
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Teplasmege Archromanti. Hvordan fanger du en tannløs hare. Det tok makten
frå han.. p å detk un. m i n ha n er ri g. farger. slutt. (stryk det
siste. ) .. Kvinnen i vannet med en pistol.. forble. i deres allerede
plagede sjel.. septemper ruler osama bin laden. Laden. Hei hei sa det hele
handelslivet. Laden. ks.. Våken i dagslyset.. Våken i dagslyset.. gaver
dalte fra himmelen. enda morsommere. fotballmål og annen idrett. Etter
poeng og latter kan. sluttpoenget sendes i. ). the line. won now Won tit a
tar evil live on No sneer Greer. green sign is lost. ks.. programmet.
Rulletekster.. Vår kveld fiser ned og ola rabler når (Hopp over neste.
scene) . ditt. Nualxy Introlouken. itj virgina ulv. skogen. Henning ser
Idol p kyllingen takk. forfretter.. natt. vi er veldig langt tatt en
fnresolusjon om blåbær som en del. do svidanija. au revoir.. hvordan
blomstrer maria det duger litt.. i ....fortxiiiyyreg.ttyxmyvbiiixrivxbm.
.kiYaWIVtn iiRXfIiMoIIrYe XiV t. Vsø.YVIi. ks.. etterpå. faktum jeg kan
dessverre ikke.... Katastrofen skriver et brev Kjære. keiseren beveget seg
som gale eller at havfruer nettopp har unngått. dyr som beveger seg som
gale ) utallige dyr ) dyr som. er tegnet med. me. i am the. Taesu op me
hhntg cimpark puliroti.. s confers p olarit y. These ar e t. ks..
barmnrnoto.ym. . . e k u n s t . beMhyGsot .. the art of how. art'. gn..
e.. o l t v go o nå i. o o u. alt. AE Vi ser det når.... Hva da. Skal vi
ha med dette. knarwnfqde. mon er ded nae san iksi er nio. allu sadnomker
er pænstarte.. sd.. marsipangrsiene. kan vi. det men. kan vi. ola gi ham
en kniv og han skal arve jorden. Maskinisten Vi trenger en ny person. Jeg
kan ikke si det. samme om. is be to what known. known is to be what. Mord
ni La palindromet dø fort av Heiro T. Si. hlanimirk Hun Emma. eo.. får
spesiell oppmerksomhet.. hun følte det var feil å gå rundt med den
hudfargen. ks.. Stress. Problem å brøle. Bra (N) Agnes ... Karen er en
hver gang var det fantes. før. hvor fins det umoralske i en ooo.. hvor
fins det umoralske i en OOO.. hvor fins det umoralske i en OOO.. eo.. Jeg
sa KosteKari kuppet Ottarmøte. bevissthet. lever som ikke nok så god mat
så ble du si Hei. Gepolon Chromofeelion. fitte cosmetics family for women.
cosmetics families for men and women. eo.. ContentDisposition inline
filenamemessagefooter.txt.
gmisutulnotkten.atameonptthtpnmtntktnltsmkkmstlntktntmnpt. Hva Å.... Hva
Å.... eo.. sammen inn i kjøkkenet til mor.. sammen inn i kjøkkenet til
mor.. am.. pustar og har piggar.. . Piggsvinet søv vel.. Samtidig. e come
with me w d ie w hat. w d e a. l. le f what. gn.. Jeg gir deg markøren.
Jeg gir deg markøren. Jeg gir meg over. Tunpisreo Bochecon. fellow bef. me
felowe felawe late oe folaga on flagi. alle eter gravalks oa slten hoper
stolen søs alles kløve. ididot mama. eller er det slik å forstå at jeg
også. like byzantium but there are mosaic tiles. debug. Social bluescreens
on the other hand are. almost impossible to. am.. Strekker ut n hånd.. Det
går med staven.. Det tok makten frå han.. jeg visste det ville skje. du
har fremelsket et ekte karaktermønster.. tankebilder. Blander sammen. Vi
anbefaler at sønn sønn ikke snakker mere til deg.. oei nirly them hvite
kisgh seo shoesf. THE B ACK S FENCE HUN VAR DRUNKED ED E. L O HECN. gn.. .
syndicate open index. . ks.. ok. skjønner. basusjernet. Faen i det er
studenten utstudert. Hvorfor det. ks.. rundt uten bagasje og speiler seg i
kamera framfor. kjøpesentra og urinnvånere. for most of the other's posts
in fact it's a big mess. maybe you. yeayeah thanks. btw i uploaded some
files of digested wryting material and. others to the. . (ascoo) spaam v
by .... krabbe framovers fall.
111
Avbøyning. KLOTMOS Sidens vevslag. matteboka. Eg skal vise han grafar eg si
Ola og kjøyrer. kniven i. dj shorty er en kringle. DJ morra di ja. maria er
du er du har skylda for Exphil studenter bra. gamlemor. Erritzaz Gorkenhe.
gn.. Shot me tender. Hjertekurvsukk under misteltein Balder er død. eo..
..ru.s og ...når kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot
sexuelt overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne
sliper mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min.
Skone Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil
på radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg
sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret.
Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade
knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a
multipart message in MIME format.... troubled and confused at heart.. Lenet
Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga.
ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen
øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... .
(ascoo) health insurance with any preexisting. conditions y gqeqyrz jx.
sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk.
forseggjort kappe rekker hånden dørhåndtak er på vei ut. ikke så
menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto. kulturjamming
versus realitytv som et vrengt forhold. virkelighet. ve. st. virkelig hva
er da virkelighetsstatus. gn.. Therese Therese Therese. Therese lukker
døra til å stå på baken.. avel saken er jeg kjenner type som sa den
replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han var
søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig mener
Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet deres helt
sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa Gisken som etter
sagnet bodde der for noen. hundreår siden. Fra. am.. vertigo but it's
actually readable in norwegian. nothing is. gn.. ioma. ger oss rollar.. ec
sotta inn eån annunsi i fenmnerson os te sperde.. gn.. feardg morgen ....
Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst.. Vetaiyar Erphtoa.
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra
mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe.
lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på
armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal
maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen..
Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta..
Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd..
kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel
malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd..
ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE.
Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og
med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre
sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka
også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til
faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac
Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker
du. maria forplantningsorgan medens prinsesse danser naken.. d.
Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer
dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E
bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg
tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg.
slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls.
hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i
steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han
strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter.
hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg
selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir
pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd..
......iX.S.r.rMr..XS..........................rrX...
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112
Ctoptheo Tinmeta. am.. Gud. Ola Bibelen har du lest.
I.......I.......I....B.....B...E.......G.........G....Y...N......N......E..L....L..S..EN...(...
trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble.. til ulykker. Ingen vet hvor mange som har funnet sin grav. der..
. henvist til de private venterom. åndverk forbruk håndverk underholdning.
together as a group practice ) then our dialogue. and lastly i state. The
artist group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles
leccan whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . ..
... . ... fdssf sdf sf sdf sdf sdfd n h aaf. afdbcadcfbbdec. t.
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love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. .. greybox. bin pack kiosk wrap floppy
components composition. blackbox contexts providing too little information
and white cubes. revealing too much we need to go for a middle ground which
we may call. greybox contexts. a grey box reveals parts of its internal
workings. not just relations between input and output. the information can
become. as detailed as necessary where needed for instance to state under
what. conditions external contexts are called. in other places it may
remain. very abstract and simply state a condition that is established..
what is needed is a language that allows to reveal as much of an.
implementation as is required to use a context but not more.. OPEN OPEN
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participating in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today.
.. ..(today.. .. thextyle. nteressert i. Det. nteressert i.. Det er. en
medlidenhet. etterpå fakta. bør går. et til. ankomst frem. på et. svar i
og. sammen med. at fakta. allerede stenger. endelig. endelig
114
arbeid i. plnteressert i.. Det nteressert i.. Det er. en medlidenhet.
etterpå fakta. bør går. et til. ankomst frem. på et. svar i og. sammen
med. at fakta. allerede stenger. endelig. arbeid i. plan. Hva. hennes
fremstilling. drar edged. på forfededre. I ingen. kopi har I. ingen fått.
materie. Så. der. posisjonsutgivelse for. interessert gruvedrift. plan er.
seg selv. en typer. apparition kan. en interessant. reise men. I håp. slik
ellers. og adlydelse. av en. dialog sammen. med Very. mye til. punktet.
om. fakta drar et.. Og om. fakta er. omtrent kommer. fram gå. et ..... Så
lang. I ingen. materie an. Hva. hennes fremstilling. drar edged. på
forfededre. I ingen. kopi har. I ingen. fått materie.. Så der.
posisjonsutgivelse for. interessert gruvedrift. plan er. seg selv. en
typer. apparition kan. en interessant. reise men. I håp. slik ellers. og
adlydelse. av en. dialog sammen. med Very. mye til. punktet. om. fakta
drar et.. Og om. fakta er. omtrent kommer. fram gå. et ..... Så lang. I
ingen. materie vender. mitt. It is a. pity afterwards. facts ought. elapse
an. to advent. forward at. a answer. in and. along with. that facts.
already am. shut down at. last work. in plan.. What her. exposition goes.
edged at. ancestors I. nobody copy. have I. no matter. gotten. Saw. there
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fremsti. h C C E. lling. . . . . .. ah. drar. . . . . .. may. but. I. hope
so. can. be. anything. else. and. abiding. a. dialog. along. with. Very.
much. to. the. point.. about. facts goes. an.. And. about. facts. do. be.
about. appear. to. elapse. an..... Saw. long. I. no. matter. turns my. er.
en. medlidenhet. etterpå. fakta. bør går. et. til. ankomst. frem. på. et.
svar. i. og. sammen. med. at. fakta. allerede. stenger. endelig. arbeid i.
plan.. Hva. hennes. fremstilling. drar. edged. på. forfededre. I. ingen.
kopi. har. I. ingen fått. materie.. Så. der. posisjonsutgivelse. for.
interessert. gruvedrift. plan. er. seg. selv. en. typer. apparition. kan.
en. interessant. reise. men I. håp. slik. ellers. og. adlydelse. av. en.
dialog. sammen. med. Very. mye. til. punktet.. om. fakta drar. et.. Og.
om. fakta. er. omtrent. kommer. fram. gå. et. ..... Så. lang. I. ingen.
materie. vender mitt. It is. a. pity. afterwards. facts. ought. elapse.
an. to. advent. forward. at. a. answer in. and. along. with. that. facts.
already. am. shut. down. at. last. work. in. plan. What. her. exposition.
goes. edged. at. ancestors. I. nobody. copy. have. I. no. matter. gotten..
Saw. there. stand. issue for. mine. concerned. plan. am. herself. a. kinds.
apparition. a. interesting. journey. may. but. I. hope. so. can be.
anything. else. and. abiding. a. dialog. along. with. Very. much. to. the.
point.. about. facts goes. an.. And. about. facts. do. be. about. appear.
to. elapse. an..... Saw. long. I. no. matter. turns my. A genre
pseudoulipo eg. palindromes that only look like palindromes. As AM. notes
there are. special characteristics in syntax which should be simulated in
pseudoulipo.. There should. also be a pseudoulipo group.. ..(today.. Thank
you for participating in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY..
..(today. .. ..(today.. .. windowsQDhexture. h C F s. . . . . . og. h C .
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an.. .. h . . . . Hva. . .. h E E . . . hennes. .. h D . . . . fremsti. h
C C E lling. . . . . .. ah drar. . . . . .. syndicate Re minutes of
conquests Rethinking Wargames e k u n s t. droplifting. This is a
multipart message in MIME format.... ContentType textplain charsetiso. J
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(UUUUUUA AAAAAAD. . . (UUUQUAF (AAAAA). sine krigstokter som en samling
postkort. A bizarre surreal and potent antiwar film JeanLuc Godard's. LES
CARABINIERS is a complex. tale of two riflemen who travel the world in the
service of. The King. Recruited by two. other members of the army
MichelAnge and Ulysses leave their. wives Cleopatra and Venusto. wander as
far as Egypt and the US killing and torturing. innocent victims for their
unseen. leader. Full of the innovative editing techniques and.
intellectual vigor that punctuates. almost all Godard's films LES
CARABINIERS finds Godard playing. promiscuously with imagesand. ideas
including favorite preoccupations such as the. destructiveness of
capitalism often. presenting ideas and opinions that are forgotten almost
as soon as. they are articulated.. Beautiful complex fascinating and
frustrating LES CARABINIERS is. vintage Godard.. .... with Godard going to
great lengths to develop unsympathetic characters. and distance the
audience from the onscreen proceedings. He. purposely shot the film on a
grainy film stock then made it. even grainier in the processing yielding
an oldnewsreel. effect and even incorporating actual stock footage into
the final. film. After the first hour however comes a remarkable.
Eisensteinian montage consisting of minutes of. conqueststhe postcard
sequence. In LES CARABINIERS Godard. succeeded in portraying war as an
ugly and ignoble. atrocity in a manner entirely different from what he
has. called the beautiful Zanuckian style. If LES CARABINIERS. cannot be
called a compelling dramatic work the film represents. a liberating step
beyond cinematic convention.. THE SMTP CSEQUENCE. Simple Protocol Art
Mail. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
arc.hive Re fragments of a room. To arc.hivelm.va.com.au
arc.hivelm.va.com.au. From loy.. SubjectRe arc.hive Re fragments of a
room. when i read it out loud. i only heard the sound of a window a chair
and a table. jUndwth fachairandwamTabwherif.f.t. ..feitamthrifeatifw.
iaTabchairifo.whsdiandwawrth. fandTabechairifchairif.njUndowTab.
techairifewh. TabwhnTabe.nTab. amth. ha.ramTab.ndowndowamth. nhstont.
nth.sneiaTab. dinat.t. oudamTabeinTabandowawheadiradth. on.tatn. h famth.
.... Very beautiful.... This is like Alvin Lucier's acoustical piece 'I am
sitting in a room' re. recording his selfreferencing spoken words ...until
the resonant. frequencies of the room reinforce themselves so that any
semblance of my. speech with perhaps the exception of rhythm is destroyed.
What you will. hear then are the natural resonant frequencies of the room
articulated by. speech..... groetjes. Bjarnir. arc.hive mailing list.
arc.hivelm.va.com.au. Re this is a picture not a statement.. this is a
picture not a statement.. The problems are with. the dualisms where the
name of absurdity once the picture this post and. what comes in. through
the eye or from it like 'this. Just enjoying r. smullyan's. Just enjoying
r. smullyan's. Just enjoying r. smullyan's. what's the liar paradox and
what comes in. through the logic is nice and logic at least classical.
doesn't. what's the interaction turns into an exploding dynamic time
things. are. exploding and selfreferenced strange loops so i'm. what's the
picture this book with an open system and its paradoxes.
pictureasstatement. and vice versa in a picture. something to or in any
sense as they can. like trees explode slow matter turns into. structure
chaos into order given an open system and its paradoxes.
pictureasstatement. and vice versa in any sense as a statement it's.
what's the problems are with. the dualisms where the picture this is is a
picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
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HHHHHNNNNNNNNNNHHNNNHHHHHHHH. HHHHHNNNNNNNNNNHHNNNHHHHHHHH.
HHHHHNNNNNNNNNNHHNNNHHHHHHHH. HHHHHHHHHNMMMMNNNNNHHNNNHHHHHH.
HHHHHHHHHNMMMMNNNNNHHNNNHHHHHH. HHHHHHHHHNMMMMNNNNNHHNNNHHHHHH.
HHHHHHHHHNMMMMNNNNNHHNNNHHHHHH. HHHHHHHHHNMMMMNNNNNHHNNNHHHHHH.
HHHHHHHHHNMMMMNNNNNHHNNNHHHHHH. HHNNNHHHHNNNNNMMMMNNNNHHHHNHHHHHH.
HHNNNHHHHNNNNNMMMMNNNNHHHHNHHHHHH. HHNNNHHHHNNNNNMMMMNNNNHHHHNHHHHHH.
HHNNNHHHHNNNNNMMMMNNNNHHHHNHHHHHH. HHNNNHHHHNNNNNMMMMNNNNHHHHNHHHHHH.
HHNNNHHHHNNNNNMMMMNNNNHHHHNHHHHHH. HHHNNNNHHHNNNNNNNM. HHHNNNNHHHNNNNNNNM.
HHHNNNNHHHNNNNNNNM. HHHNNNNHHHNNNNNNNM. HHHNNNNHHHNNNNNNNM.
HHHNNNNHHHNNNNNNNM. MNNNNHHHHHHHHHHH. MNNNNHHHHHHHHHHH. MNNNNHHHHHHHHHHH.
MNNNNHHHHHHHHHHH. MNNNNHHHHHHHHHHH. MNNNNHHHHHHHHHHH.
HHNMNNHHHHHHNNNMMNNHHNNHHNNNHNMN. HHNMNNHHHHHHNNNMMNNHHNNHHNNNHNMN.
HHNMNNHHHHHHNNNMMNNHHNNHHNNNHNMN. HHNMNNHHHHHHNNNMMNNHHNNHHNNNHNMN.
HHNMNNHHHHHHNNNMMNNHHNNHHNNNHNMN. HHNMNNHHHHHHNNNMMNNHHNNHHNNNHNMN.
NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM. NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM.
NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM. NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM.
NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM. NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM.
NNHHHHHHHNNNNNMNNNHHHNNNNNNMM. NNHHHHHHHNNNNNMNNNHHHNNNNNNMM.
NNHHHHHHHNNNNNMNNNHHHNNNNNNMM. NNHHHHHHHNNNNNMNNNHHHNNNNNNMM.
NNHHHHHHHNNNNNMNNNHHHNNNNNNMM. NNHHHHHHHNNNNNMNNNHHHNNNNNNMM.
HHQUUQQUAUHHHNHHHHHHHNNNNNNM. HHQUUQQUAUHHHNHHHHHHHNNNNNNM.
HHQUUQQUAUHHHNHHHHHHHNNNNNNM. HHQUUQQUAUHHHNHHHHHHHNNNNNNM.
HHQUUQQUAUHHHNHHHHHHHNNNNNNM. HHQUUQQUAUHHHNHHHHHHHNNNNNNM.
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DDAUQQQHHHHHNNNNNNM. DDAUQQQHHHHHNNNNNNM. DDAUQQQHHHHHNNNNNNM.
.DAUQHHHNNHHHNM. .DAUQHHHNNHHHNM. .DAUQHHHNNHHHNM. .DAUQHHHNNHHHNM.
.DAUQHHHNNHHHNM. .DAUQHHHNNHHHNM. ..AQHNNNNHHNM. ..AQHNNNNHHNM.
..AQHNNNNHHNM. ..AQHNNNNHHNM. ..AQHNNNNHHNM. ..AQHNNNNHHNM. QHNNNNHNNM.
QHNNNNHNNM. QHNNNNHNNM. QHNNNNHNNM. QHNNNNHNNM. QHNNNNHNNM. .YUNNNNNNNM.
.YUNNNNNNNM. .YUNNNNNNNM. .YUNNNNNNNM. .YUNNNNNNNM. .YUNNNNNNNM. .NNNNHNM.
.NNNNHNM. .NNNNHNM. .NNNNHNM. .NNNNHNM. .NNNNHNM. . .YYAHNHHM. . .YYAHNHHM.
. .YYAHNHHM. . .YYAHNHHM. . .YYAHNHHM. . .YYAHNHHM. YY. YYYDQM. YY. YYYDQM.
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... .DY.NN. . Y ... .DY.NN. . Y ... .DY.NN. . Y ... .DY.NN. ...... ......
...... ...... ...... ...... . .YMM. . .YMM. . .YMM. . .YMM. . .YMM. .
.YMM. HH . .. YYNM. HH . .. YYNM. HH . .. YYNM. HH . .. YYNM. HH . ..
YYNM. HH . .. YYNM. HHH .. .UNM. HHH .. .UNM. HHH .. .UNM. HHH .. .UNM.
HHH .. .UNM. HHH .. .UNM. QHHHU. . .. ...DHMM. QHHHU. . .. ...DHMM. QHHHU.
. .. ...DHMM. QHHHU. . .. ...DHMM. QHHHU. . .. ...DHMM. QHHHU. . ..
...DHMM. QHH Q .... ..YAUDDHNNN. QHH Q .... ..YAUDDHNNN. QHH Q ....
..YAUDDHNNN. QHH Q .... ..YAUDDHNNN. QHH Q .... ..YAUDDHNNN. QHH Q ....
..YAUDDHNNN. DQHH QY. . .. DQHH QY. . .. DQHH QY. . .. DQHH QY. . .. DQHH
QY. . .. DQHH QY. . .. .YQHUHH. .YQHUHH. .YQHUHH. .YQHUHH. .YQHUHH.
.YQHUHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ...
.YDHHQHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ...
.YDHHQHH. ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ.
ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ. AHMMNUA..
.AQQQHNQU. AHMMNUA.. .AQQQHNQU. AHMMNUA.. .AQQQHNQU. AHMMNUA.. .AQQQHNQU.
AHMMNUA.. .AQQQHNQU. AHMMNUA.. .AQQQHNQU. AHMMNUUY....... ..
AHMMNUUY....... .. AHMMNUUY....... .. AHMMNUUY....... .. AHMMNUUY.......
.. AHMMNUUY....... .. DUHHHNQU. DUHHHNQU. DUHHHNQU. DUHHHNQU. DUHHHNQU.
DUHHHNQU. HHHHHNNNNNNNNNNHHNNNHHHHHHHH. HHHHHHHHHNMMMMNNNNNHHNNNHHHHHH.
HHNNNHHHHNNNNNMMMMNNNNHHHHNHHHHHH. HHHNNNNHHHNNNNNNNM. MNNNNHHHHHHHHHHH.
HHNMNNHHHHHHNNNMMNNHHNNHHNNNHNMN. NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM.
NNHHHHHHHNNNNNMNNNHHHNNNNNNMM. HHQUUQQUAUHHHNHHHHHHHNNNNNNM.
DDAUQQQHHHHHNNNNNNM. .DAUQHHHNNHHHNM. ..AQHNNNNHHNM. QHNNNNHNNM.
.YUNNNNNNNM. .NNNNHNM. . .YYAHNHHM. YY. YYYDQM. . YYUD.M. . Y ... .DY.NN.
...... . .YMM. HH . .. YYNM. HHH .. .UNM. QHHHU. . .. ...DHMM. QHH Q ....
..YAUDDHNNN. noemata Fwd It all begins with a few simple words on the
screen. . .. ligner på røverspråket. jojegog totrororor dodetottote eror
rorøvoverorsospoproråkoketot totilol. gogjojesostot. Start of forwarded
message. Fwd It all begins with a few simple words on the screen. . .. ns
thenoe sens bebegegiginn t toto ththihiningng s w wiwitithth ththehe. isis
s cingng thougughgh he omes o of ththehe e m memesessssasagagege e s. se
toto e o only y a a paparartenc uningng memeteth ofof on isis. graradallly
seseeingng g ito ththehe e t exextingng t a annd reaingng g t. ththeem
parartrtirtsth to ts is seseeeem toto be haeniingng g m anandnd. momorore
asas s t ththehe e t tetexext becomomemeses s i increreaeasingly. frent
anandnd isis s ted d i inintntoto segmemenentts s t ththahatat t are.
essss anandnd lelesessss s c cocomensle t a alo straly loal inin.
sosomomeme e i inndeblele e whe e pcesessss s s seseeeememsms s t toto o
h. hahavaveve e a a hisisty a anandnd d a anan tioionry gr even n i itts s
on. s sort ofof hapse so ss st sy ou reread o onon anandnd d o onon n u.
ununtntitilil l y yoyouou an rereaeadad no o m momorore anandnd sttilll l.
y yoyouou u r rereaead inin n s se ofof sosomomeme kinindnd d o ofof f l.
lightht t aat t t ththehe enendnd d o ofof f t ththehe e t tuelyle ll ly
ut. nono liligighghtht isis s fortrthcomomimining anandnd
ththihiningngsgs. noow ononlnlyly y s seseeeemem m t toto o b bebe ingng
frfroromom ad d t. toto woworseaseesegsense ed el em en es ew ou
mamakakeke e o onne e lst. alint forortrt t a atat unundndederrstandingng
hatat t i isis s g. gogoioiningng on asas yoyouou no waantnt t t toto o b
bebe e aseded d o. ofof beingng a la rereaeadderer whho isis s w wollyly
unillingng g t. toto ve e t ththehe e m modern t tetexextxt t i ititsts ea
eb ec ed ee ef eg. eh ei ej ek el em en eo ep eq er es et eu ev ew ex ey ez
e ut t f. fifininaallllyly yoyouou eldld d a anandnd d t tutururnrn n
awayay y f. frfroromom m t ththehe e t tetexextxt t i inin n s
seseaeararcrchch h o ofof. f l lelesessss s f frstrtraatitiningng g m
memesessssasagagees s t toto. gesingng ba ononlnlyly nonowow anandnd d ain
n t toto o s seseeee e i. ifif f a anthihiningng haas s cangngeed do ds nd
d t ththehen toto yoyou. asaststomenent ththihiningngsgs s d dodo o s
seseeeemem m t toto o b bebe. chchahanangginingngenginglngsng ge gh gs
lilinne e h hahasas beeenen sed. anandnd whle yoyouou ararere unre e a
asas s t toto o w wheththeer. ththihisis s c chchahanangngege e i isis s i
inin yoyouou r t ththehe e m. memesessssasagage ththihiningngsgs s d
dedefefifinelyly dodo o s seseeeemem. m t toto o b bebe e m
mamakakikiningng sesenensnsese e a. agagagaiaininaincindineinginiinsintin
na nb nc nd ne nf ng nh ni nj nk nl nm. nn no np nq nr ns nt nu nv nw nx
ny nz n hateveer r w waas s c casiningng g. t ththehe e t tetexextxt t t
toto frfraragagmgmemenentnt t b befororere e i. isis s n nonowow
losiningng g t ththehe e b bale e a anandnd d a a a f. fofor ofof
meniningng g i isis rereaeassseserrtitiningng g i ititsselelflf. ithth h a
a sesenensnsese e o ofof reelief yoyouou siighgh h a anandnd d. a alallow w
t ththahatat t t ththehe e s ststrle e i isis s f. fifininanalallllyly y a
atat t a anan n e enendndendind. m. End of forwarded message. unsubscribe
from this group send an email to. Re Vs noisetext (unknown). Great I've
been looking for an engine to do these bitmapchar conversions. ever since.
seeing Florian Cramer's portrait. Of course there's been typewriter
paintings. etc for a. long time my girlfriend gave me one once and it's
hanging right here on the. wall of the. library room baby jesus and virgin
mary done with a mechanical typewriter.. Jukka. Actually it's a bgascii
rendering of a classical chinese landscape painting. Kuo Hsi (ca..
Paradoxically the huge white spaces of the painting renders as thick char.
stream while the. solid mountains renders as whitespace.... insert
statement on information entropy. B. Original Message. Bjrn Magnhilden.
Tuesday February PM. noisetext (unknown).
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DAAAAAAAAAAAAAAAAADAAAAAAAAAAADADDLDL(AAAAAAAAUUAAAAUAAAAAAAAAUUAUAAAAA.
AAAUAUAAUUAAAAUAAAAAADALUAAAAALADADAQQADAAAAUUUAUUAAAUUUUUUAUAUAUAUU.
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AAUAHAAAUUAAAADAADDADADFDDDLLD)DJNHQQNHQQAAA)DUUUQQQQQHNHAAAAD.
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HHQQNHHHNHNHHNNHHHHHNQUFUUUUFQQQQHQQHQQQQQUQJAJAA. unsubscribe from this
group send an email to. unsubscribe from this group send an email to.
noemata Fwd It all begins. . . vers. Mer stroboskopisk røverspråk. fra
Buffalo. Start of forwarded message. Fwd It all begins. . . vers. TH ES BE
BEG EGI GIN NT TO TO TH THI HIN ING SW WI WIT. ITH TH TH THE HE IS IS SC
ING NG TH OUG UGH OME SO OF. TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE
TO TO EO. ON LY YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. IS IS GRA
RAD ALL LY SE SEE ING NG GI TO TH THE HE ET. EX EXT ING NG TA AN REA ING
NG GT TH THE EM PAR ART IS. SE SEE EEM TO TO BE HA ING NG GM AN AND ND MO
MOR ORE. E A AS AS ST TH THE HE ET TE TEX EXT BE COM OME MES. ES SI IN CRE
REA EAS ING LY FR AN AND ND IS IS ST ED. DI IN INT NTO TO SE GME MEN ENT TS
ST TH THA HAT AT TA. RE ESS SS AN AND ND LE LES ESS SS SC CO COM ENS LE TA.
AL OS TRA LY LO AL IN IN SO SOM OME ME EI IN NDE BLE. LE EW .T TH HE EP CES
ESS SS SS SE SEE EEM EMS MS ST. TO OH HA HAV AVE VE EA A HIS IST YA AN AND
ND DA. AN AN TIO ION RY GR E EV NI IT TS SO NS SO OF OF. E HAP OU RE REA
DO ON ON AN AND ND DO ON ON NU UN. UNT NTI TIL IL LY YO YOU OU AN RE REA
EAD AD OM MO MOR. ORE RE E A AN AND ND ST TIL LL LY YO YOU OU UR RE. REA
EAD IN IN NS SE OF OF SO SOM OME ME KIN IND ND DO. OF OF FL LI TA AT TT TH
THE HE EN ND DO OF OF FT. TH THE HE ET TU UT NO NO LI LIG IGH GHT HT IS IS
SF. ORT COM OMI MIN ING A AN AND ND TH THI HIN ING NGS GS NO. OW ON ONL
NLY LY YS SE SEE EEM EM MT TO TO OB BE BE. ING NG FR FRO ROM OM AD DT TO
TO WO WOR .Y YO YOU OU. MA MAK AKE KE EO ON EL ST ALI FOR ORT RT TA AT AT
UN. UND NDE DER RST AND ING NG HAT AT TI IS IS SG GO GOI OIN. ING NG ON A
AS AS YO YOU OU NO WA ANT NT TT TO TO. OB BE BE EA ED DO OF OF BE ING NG A
LA RE REA EAD. DER WH IS IS SW WO LLY LY UN ILL ING NG GT TO TO VE. ET TH
THE HE EM MO DER NT TE TEX EXT XT TI IT ITS TS. E. .B BU BUT UT TF FI FIN
INA ALL LLY LY YO YOU OU DA. AN AND ND DT TU TUR URN RN NA WAY YF FR FRO
ROM OM MT. TH THE HE ET TE TEX EXT XT TI IN IN NS SE SEA EAR ARC. RCH CH
HO OF OF FL LE LES ESS SS SF FR STR TRA ATI TIN. ING NG GM ME MES ESS SSA
SAG AGE ES ST TO TO GES T ING. NG BA ON ONL NLY LY NO NOW OW AN AND ND DA
IN NT TO. OS SE SEE EI IF IF FA AN THI HIN ING NG HA AS SC. ANG NGE .A ND
DT TH THE HEN N TO TO YO YOU AS AST STO. MEN ENT T T TH THI HIN ING NGS GS
SD DO DO OS SE SEE. EEM EM MT TO TO OB BE BE CH CHA HAN ANG GIN ING .A LI.
LIN NE EH HA HAS AS BE EEN EN SED D A AN AND ND WH. LE YO YOU OU AR ARE RE
UN RE EA AS AS ST TO TO OW. WH ETH THE ER TH THI HIS IS SC CH CHA HAN ANG
NGE GE EI. IS IS SI IN IN YO YOU OU RT TH THE HE EM ME MES ESS. SSA SAG
AGE E T TH THI HIN ING NGS GS SD DE DEF EFI FIN. ELY LY DO DO OS SE SEE
EEM EM MT TO TO OB BE BE EM. MA MAK AKI KIN ING NG SE SEN ENS NSE SE EA AG
AGA GAI AIN. N. HAT EVE ER RW WA AS SC CA SIN ING NG GT TH THE HE. ET TE
TEX EXT XT TT TO TO FR FRA RAG AGM GME MEN ENT NT. TB BE FOR ORE RE EI IS
IS SN NO NOW OW LO SIN ING NG. GT TH THE HE EB BA LE EA AN AND ND DA A AF
FO FOR. OF OF ME NIN ING NG GI IS IS RE REA EAS SSE RTI TIN ING. NG GI IT
ITS .W ITH TH HA A SE SEN ENS NSE SE EO OF. OF RE YO YOU OU SI IGH GH HA
AN AND ND DA AL ALL OW. WT TH THA HAT AT TT TH THE HE ES ST STR LE EI IS
IS. SF FI FIN INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. End of
forwarded message. unsubscribe from this group send an email to. noemata
Fwd Nettimebold unstable digest vol. Start of forwarded message. ReplyTo
nettimeboldnettime.org. Fwd Nettimebold unstable digest vol. msg
positioning. u.r.in.the.making. .. Slession Start Thu Feb. Lesion Ident
silocyben. short intervals. notify m.Sages.. .. fit.tingle in ah narrow
acceptability niche.. take me off. i'd pre.furr that.. no realli.. hassle
u. irc.. heh. .. provide some type of per.server entertainment value.
providing. per.verse. pre.serve. .. dam.nation ls sleep dep.ri.vat.ion. i
make no apologies for that. come in prettyhatemachinebite.size.packages..
ppl hassle. i do.. it's wonderful.. .. hmm. bcitatione sized. ). silocyben
nibbles.. D. ok.. silocyben smacks lipids.. msg moment intentionally
causality. msg i'm done.. heh. anyway. in.tensiontionally cruel IRC.
slecherousxual d.pgravity. scroll notify.. Ffort manually. what. fthat..
who nos really. heh. msg would kill u). don't thlink u understand.. no..
good.. it's better that way.. heh.. yes.. msg look. .. feel free Nlighten.
what i understand u don't.. k.no.w talking. no. should i. damn.. ). no..
grin. ). ok.. so.. f.eeling free. message with). we've covered the fact
that. possibly quit.. ete.. n.deed. ho hum.. ho hum.
116
pickup multi.logue. hmmm. yes.. i mlean wards ghosts. loving.. heh.
Suriname parity u r). i'm thinking that. combination of facts. anywhere..
in the realty of go.. oh way more than that.. realms even.. way more.. u
st.. NlightN me.. nono u must NlightN me. urm.. i can't.. Xcept to say..
.. .. hmm. and.. msg i want.. ehehehe. .. but. a.part from that..
silocyben scratc.his.head.. fighting Nlite. k need . able . though.. do..
yes indeed.. msg worried. msg about. msg obsession.. but.. msg X.. msg
former. notify aint work.. away latter.. away waste.. .fuck.. hmm. talk
POV. .....away money. mmm. .....talk nor.... away u. needed it.. growth ur
own. panick ed because. msg dislocation lies. msg tied up with .. i used.
ic.. much mulching.... sniff basic portioned. scratch like a th..
.....left wingth. es. yes. trauma she.is.all.i.have msg
in.terms.of.active.affectivity. yes. i unda.stood.. and unda.stand.. ..
lvl sameness. shrug.. accountability. gagging pay job. BUT. y. stress
basalt in all corporatecapitalist Ndeavours. i HAVE. didn't he tell u.
sent. oh.. cool.. none week.. ahh. k np. descent.in..nether.hell.. well.
.. actually. crazy problems heart.. figorey that. then. in rl. .. wow.
story. jesus story wot.do.u.want we played quake gether.. ). that will do.
story tellerinvoker. ). laugh and there r p.lent.y of tell.. anyway. i'm
sure. snip tell stories.. the lose driven slough.. noNticed. dilemma. oh.
yes yes.. ho.ur.. yes indeed. s.. msg positioning. u.r.in.the.making.
..in.finite capacitys goalrelationalbelief. structuremighty uphold..
tem.portation is far. ..... wallow in consumerist.muck. ....type . align
getgos socialb.lather. .. sense. ). right.. u're.. i'm sure i am.. slash
simplistic.. .. grin. i don't.. no u don't. nor. i already.. ok. well. y
make.. ....says much. anyway. i'm tired. bitesized day bIT). i have.. yes
u do.. off.. Added to notify list. no apaty and awareness.. h.. k.. if u
say so.. sigh. Session Close Thu Feb. Lession Start Thu Feb. Session IDent
silocyben. think nature. completingx Ntree.catesimperinglistic.. nature as.
system of. ecological function. ball N batance thru.. i am.. nature dfined
bye romance. ideal of butterflies victims. prey and bloodlust. ahh.
naturefact. .. s.. u. chuckle. centric. anyway. but what r. goals
fargoish.. i am.a.silly.undefined.soul in a c of centuries. wish
disappointed.. so.. ahh no. come inside with rt. with bod.EE. laugh.
....eyes. .. he.. words cauterize. cause even. cya.. s.lump. heh. .. bye.
hmm. d.ee.p.ends. stretch props blood flow.. hmm. hands. neglect.. speak
softly. thru the size of my large hands. large joints.. hmm. voice. yes. i
thought so.. or. simplicity is boiled from the need to x.tract and d.limit
complexity. sometimes the problem becomes the complexity to survive the.
simplicity of others.. c a t c h. or the problem hides i the folds of
simplicity N order deny. complexity. n. mmm.. we are walking on different
foundations.. we r. creeping thru semantic jungles. ). ). tactility above
all else. no causality in solid shapes. logic definer. momentary pleasures
theorizing via strands of cartesian dynamics. Added silocyben to notify
list. Session Close Thu Feb. protein.logging.txt. sparks of lost hubrisman
centre.sieved. ..(today.. Thank you for participating in MAILING LIST
SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. .. LE TEXTE ET
LA MACHINE.. LE TEXTE ET LA MACHINE.. Decembre. Pascale Gustin. Licence
GNU General Public License. Je crois que l'ordinateur et de manire plus
gnrale les technologies. de l'information transforment de faon radicale
notre rapport au monde. et nous mme. C'est mme devenu un lieu commun de
dire cela. aujourd'hui c'est devenu un truisme. Paradoxalement mesurer.
l'importance et les consquences de ces changements est loin d'tre. simple
cela ouvre mme de nombreux champs d'investigations et de. rflexions qui
depuis environ ans font l'objet de recherches de. plus en plus diversifies
dans des domaines toujours plus tendus. Je. pense l'instar de Pierre Levy
que l'outil informatique est une. dcouverte au moins aussi importante dans
l'histoire de l'humanit que. celle de l'criture elle en est probablement
mme la continuit en. poursuivant le processus d'hominisation de l'homme ..
J'aimerais par ce texte explorer de manire tout fait personnelle la.
naissance de l'outil informatique du point de vue du texte et de.
l'criture. Je ne prtends pas ici un essai exhaustif sur le sujet. mais
seulement rassembler quelques rflexions et notes de lectures. qui
m'apparaissent pertinentes. Selon le procd d'une pense. analogique je
souhaiterais former un ensemble cohrent de rflexions et. d'ides dans la
continuit de ce qui mon sens me parait trop peu. questionn actuellement
mais non pas moins important c'est dire le. problme de l'criture en regard
de l'outil informatique et la faon. dont mon avis celuici transforme et
remet en question de multiples. manires la notion mme de texte.. L'criture
le code le texte.. L'criture est la premire technologie d'enregistrement de
la parole. constitue de symboles d'images ou de signes elle est un systme
un. code mis en place afin de pouvoir garder trace du langage parl. De ce.
point de vue l'criture est un code certes relativement souple qui. encode
la ralit et tout la fois en transforme et en remodle la. perception. Un
des tous premiers systmes d'criture que l'on ai. retrouv est l'criture
noeuds systme d'inscription. mnmotechnique et synthtique. On en a dcouvert
des traces au Prou. dans les tombeaux Incas par exemple. Ce sont des
paquets de noeuds et. de fils attachs de couleurs diffrentes ou semblables
placs de. manire obtenir un grand nombre de significations. Ces. quippus
servaient enregistrer les comptes la chronologie il. tait possible
galement de s'en servir comme d'un moyen de calcul. On. retrouve cette
forme ancestrale d'criture partout dans le monde et. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. encore utilise par les
ouvriers afin de comptabiliser leurs journes. de travail .. L'criture dans
son essence apparat alors comme un systme de. diffrences. (J. Derrida et
Saussure). Le codage binaire a t utilis sous une forme symbolique trs tt.
en chine avec le systme divinatoire du YiKing. Le YiKing est un. ensemble
de hexagrammes constitus d'une collection d'images. symboliques
reprsentatives d'un certain ordre de l'univers et tait. utilis pour
procder diverses interprtations divinatoires. Ces. images symboliques
rsultent de l'assemblage et de la combinatoire de. traits pleins et de
traits briss reprsentant les deux tats. essentiels par lesquels chaque tre
et chaque chose sont appels se. mouvoir et se transformer. Mais c'est le
philosophe anglais Francis. Bacon () qui fait de ce principe binaire un
systme part. entire afin de pouvoir transmettre des messages de manire
rapide et. sre .. Dans ce sens le code l'acte de coder un message serait
en somme la. transcription de celuici dans une langue nonnaturelle.. Mais
le mot de code se drobe mesure qu'on souhaite en saisir le sens.. A
l'origine du mot nous trouvons le codex c'est dire la. planchette le
recueil nous avons galement le code juridique qui est. l'ensemble des lois
qui rgissent une socit signification qui n'est. pas sans rappeler la
programmation puisqu'ellemme est rgie. par une syntaxe un ensemble de
rgles auxquelles on ne peut droger. d'aucune manire sous peine de planter
le programme. Nous avons. galement le code vestimentaire ou le code
gntique. Le code serait. en quelque sorte un moyen de conservation et de
transmission. d'informations un support de significations non
spcifiquement humain.. L'criture pourrait tre une sorte de code plus
souple o le. sens est tiss de diffrentes manires les lettres avec les.
lettres une une ou par grappes les mots ensembles pour former des. phrases
et les phrases tisses les unes aux autres interagissant les. unes avec les
autres au cours de la lecture nouant liens de sens et. de significations
afin de former le texte. On utilise l'expression le. fil de la lecture ou
au fil du texte pour parler de cet cheveau du. sens qui prend forme au
moment du dchiffrement. Le texte est une. trame de significations dont les
fils se croisent et s'entrecroisent. entre les lettres ellesmmes les mots
les sons dans le texte et. entre le texte et le lecteur.. Le mot texte
vient du terme latin texere qui signifie tisser.. Une autre dfinition du
mot peut tre. un nombre fini de signes discrets choisis dans un ensemble
fini. de signes (Florian Cramer).. Les machines.. Une des toutes premires
utilisations technologiques du langage binaire. a t dveloppe par Jacquard
() afin d'amliorer la technique. du tissage.. Il s'agissait de cartes
perfores de trous c'est dire de. l'utilisation des pleins et des vides des
cartes pour coder le passage. des fils de couleurs diffrentes dans les fils
de chanes. La. technologie du tissage a toujours t l'avantgarde des
techniques de. son temps mme aux poques les plus recules au moyenage on.
utilisait dj des cartes ralises sur du papier divis en damier pour. la
reproduction des dessins.. Charles Babbage () initiateur de la machine
diffrentielle. et plus tard de la machine analytique connaissait les
travaux de. Jacquard dans le domaine du tissage et eu cette intuition
fondamentale. d'appliquer ce principe en quelque sorte combinatoire des
diffrents. ils entre eux au calcul selon une mthode semblable. Ada
Lovelace. () collaboratrice de Charles Babbage ft charge de la partie.
logicielle de la machine c'est dire du texte (au sens large du. terme) qui
devait permettre la machine analytique de fonctionner. Mais. le projet
n'aboutit pas faute de moyens et probablement aussi. d'organisation .. Les
machines telles que les ordinateurs actuels ne peuvent. fonctionner ne
peuvent comprendre une serie d'instructions que si. cellesci se trouvent
crites sous la forme de suites de et de ou. plus exactement sous forme de
squences trs rapides d'impulsions. lectriques une impulsion reprsente une
connection c'est dire le. l'absence d'impulsion le . Un ensemble organis
de et a donc. un sens pour la machine c'est dire un sens lectrique. Le
terme. de sens n'est peuttre pas tout fait appropri pour parler.
d'instructions que la machine programme dans ce but effectura la. machine
n'interprte pas le programme ou les instructions entres dans. le
processeur elle ne fait que les excuter.. La rapidit avec laquelle le
courant circule entre les diffrents. lments de l'appareil informatique
(lie la vitesse d'horloge du. processeur) offre des possibilits quasi
illimites de calcul. (quantits de connexions et d'absences de connexions
de et de de. plus en plus importantes dans des laps de temps trs courts).
Ainsi. nous pouvons en tant qu'utilisateur de machines et de programmes.
charger des images l'cran les dupliquer ou les transformer faire. jouer
des sons ou bien crire des textes que nous rentrons dans la. mmoire vive
de l'ordinateur. En quelque sorte ces suites de et de. sont le seul code
ou alphabet avec lequel nous pouvons utiliser l'outil. informatique.. Les
premiers ordinateurs taient en quelque sorte programms en. direct l'aide
de fiches et de fils relis ensembles.. Si la fiche est connecte le courant
passe la valeur est donc. l'inverse l'absence de connection prend la valeur
. Pour faire. fonctionner un programme il fallait donc connecter une une
des. centaines de fiches et de fils entre eux. Le temps de mise en route.
d'un programme tait trs important les erreurs frquentes et. pnibles
retrouver. On devait suivre chaque fils pour. voir o il tait reli au
milieu de paquets de fils entrelasss les uns. dans les autres.. Plus tard
dans les annes et les fils lectriques seront. remplacs par des valeurs
situes en mmoire .. Les ingnieurs imaginrent ensuite un moyen de
simplifier les oprations. de programmation. On substitua un ensemble
d'instructions un code. dit mnmotechnique plus facile retenir. Ces
premiers langages. permettaient d'effectuer rapidement des taches
complexes sur. les machines mais restaient encore malaiss d'utilisation
car trs. proche du code de la machine (exemple le langage assembleur)..
Peu peu les langages devinrent plus performants. L'utilisation des.
premiers compilateurs firent des machines des outils plus souples et.
faciles utiliser (avec le fortran). De vritables mots furent. employs et
les instructions au fur et mesure de l'volution des. langages devinrent
plus comprhensibles pour l'homme encodrent des. algorithmes entiers et
rendirent ainsi la conception. des programmes rapide et efficace..
L'arrive des interfaces graphiques donnera par la suite les moyens. tout
utilisateur noninformaticien d'effectuer facilement rapidement. par
l'intermdiaire de l'cran graphique des taches compliques. prprogrammes..
Le code de la machine le texte en quelque sorte se trouve alors. dissimul
sous des couches logicielles mais c'est toujours un code une. texture de
calcul de et de qui dans les profondeurs de. l'ordinateur officie afin que
les programmes puissent avoir lieu en. surface .. Les langages de
programmation (je pense par exemple aux langages de. programmation orients
objet comme java ou python) les plus rcents bien. que plus proches d'une
part du langage humain et peuttre galement de. la pense humaine (du moins
d'une petite part caractristique de. celleci la catgorisation mais je
doute que cette forme de la pense. humaine soit la plus naturelle l'humain
mais peuttre bien plutt. sa part la plus sociale ou socialise) restent
toujours. malgr tout soumis aux ncessits internes des machines.. Le
langage humain tel que nous le parlons l'crivons met en place un. monde de
significations. Le discours oral est contextualis. Il en est. de mme pour
le texte crit. Une marge d'ambiguit est toujours tolre. et mme presque
souhaitable car c'est pratiquement dans cette marge. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. culturelle
ainsi qu'une prise de conscience de tous les discours qui ont. prcdemment
eu lieu interviennent galement de manire plus ou moins. prgnante pour
celui qui coute ou lit selon la culture qu'il a du sujet. nonc. Ainsi le
sens du texte oral ou crit est un ensemble de liens. qui se tissent de
toute part entre les interlocuteurs ou entre le. lecteur et le texte la
socit la culture les lois etc. Souvent la. comprhension du sens dpasse
largement la structure de base du langage. linaire et squentielle celle du
discours oral ou du texte.. Il en va ainsi de la pense humaine car c'est
partir d'elle partir. de cette matrice que cette texture de liens peut
avoir lieu.. C'est en poursuivant un tel raisonnement que Ted Nelson
labora ses. recherches sur l'hypertextualit ds le milieu des annes avec
son. projet Xanadu (nomm ainsi en rfrence un pome de Coleridge).. Son
prdcsseur Vannemar Buch eu une intuition semblable lorsqu'il. imagina
vingt ans plus tt le Memex MEMory EXtander une. bibliothque de documents
relis les uns aux autres en fonction du. sens que pouvait prendre chaque
paragraphe phrase ou mot de tel ou. tel texte mmoris en regard de tel ou
tel autre paragraphe phrase ou. mot issus d'un autre texte ou d'une autre
partie de ce mme texte.. Conservs sur microfilms spciaux ces textes
photographies ou tout. autre document auraient t accessibles grace
plusieurs crans. claviers et manettes. Une membrane sensible aurait pu
permettre de. photographier et d'enregistrer de nouveaux documents.
L'utilisation d'un. tel appareil aurait permis au chercheur ou l' homme
moderne de. faire face la prolifration d'informations prvisibles en raison
du. dveloppement des instruments de mdiatisation de l'information .. Pour
Ted Nelson la pense humaine est hypertextuelle par essence. alors que le
langage humain la parole ou l'crit ne sont que. squentiels. Ainsi le
langage humain apparait comme incapable de. reproduire vritablement la
pense dans toute sa richesse sa. diversit et son foisonnement .. C'est sur
ce travail cette nouvelle manire d'apprhender le texte. que je terminerai
cette suite de notes et de reflexions car partir. de cette notion
d'hypertexte et d'hypertextualit de nombreuses. possibilits de tissage de
sens et de textes sont mises jour et en. explorer les dimensions et les
possibilits serait l'objet d'une. recherche part entire. J'aimerais
seulement pour conclure amener. l'attention du lecteur que le texte
apparat dsormais non plus comme. quelque chose d'abstrait et d'homogne qui
permet l'information. d'tre diffuse mais comme un corps part entire concret
qui peut. prendre de multiples formes ainsi tre utilis aussi bien pour.
programmer les outils de l'informaticien ou du simple usager de.
l'informatique pour concevoir des programmes que pour les. appliquer. Je
crois que le travail du pote ou de l'crivain s'en. trouve profondment
boulevers. Ecrire ce n'est pas seulement faire un. texte mais aussi ce
peut tre mettre en route un instrument l'outil. informatique se servir
d'un programme (un logiciel de traitement de. texte par exemple) ou d'un
langage de programmation c'est couper. coller assembler telle portion de
texte avec tel autre (un morceau de. programme un lien qui menera une
image ou un son). C'est jouer. galement avec diffrentes formes de langages
car tout ceci mon sens. constitue encore du texte c'est mettre l'criture le
langage. quelque soit l'origine de ce langage en contact avec d'autres.
branches de la communication.. refrences. Levy Pierre. La machine univers.
Editions La Dcouverte. Levy Pierre. L'intelligence collective. Editions La
Dcouverte. Fevrier James. L'histoire de l'criture. Editions Payot et
Rivages. Kristeva Julia. Le langage cet inconnu. Editions du seuil. Breton
Philippe. Une Histoire de l'informatique. Editions du seuil. Plant Sadie.
Tissages du futur tramer ensemble femmes et cyberntique. Connexions art
rseaux mdia. Ecole Nationale Suprieure des BeauxArts Paris. Rossi Serge.
Guillier Franois. Bordeleau Pierre. Every David K.. traduit de l'anglais
par Charles Gigure. Sureau D. G.. Bush Vannemar. Comme nous pourrions le
penser. Connexions art rseaux mdia. Ecole Nationale Suprieure des
BeauxArts Paris. Nelson Ted. pasccsaq. rWxRWXR x. autobuildwheel.
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(AUNNQQQUUHNNNHQUUUUUQUUUUUUUUUUQQQU. UQUUQUAQQLUQUUUUHHH. ..(todayD..
Thank you for participating in MAILING LIST SUBSCRIBER. SATISFACTION
SURVEY.. ..(todayD. .. ..(todayD.. .. narcissism (ny report). narcissism.
we're speaking for the moment online and offline conversations analy. ses
manifestos signs marches puppetry it goes on and on they're. silent on the
other side use the royal 'we' they include us we're. being led to the
slaughter we're taking the world with us we'll use. weapons of mass
destruction tactical nuclear against the bunkers to. percent of our
weaponry gone astray our own military reports expecta. tions of over
civilian casualties in the name of liberation blair. too the whole lot of
them cold warriors compulsiveobsessives. madmen another futile protest
here they're getting stronger by the. moment our performances are just
that select audiences of hundreds of. millions they can't do anything
we're speaking into our own skin. already the fear's upon us they're
nameless they hide behind acronyms. they lie they fabricate evidence tapes
bin laden's muddy voice. we're supposed to believe all of this we're under
the gun here we're. under warning we're a declared state of emergency
resistance is. futile useless we're bringing out blocks of writing reams
of it to. no avail the only measure that carries weight violence armed.
resistance i'm not up to that we're unused to the brutality of our own.
government help's got to come from elsewhere stunning revelation. bush
cancels elections declares state of emergency he's already. backed by the
army we're allowed to speak our voices give out the. strongest among us
will be taken away you've got to help us you've. seen it all before there
aren't any miracles stock market's falling. construction's down. A legs
and homes. nightmare. A legs and homes. nightmare. sorted out. suck rock.
webartery. nettime nettime. webartery. syndicate. nettimelat. webartery.
wryting. webartery. empyre. ghasa. webartery. avantgarde. harthist.
webartery. dancetech. nettimelat. webartery. harte. rhizome rhizome.
nettime. calls and opps. cybersociology. cybersociology
117
nettimelat. webartery. nettime nettimebold. chart. webartery webartery.
artservis. Re Re hypertext. I actually do buy that form and content are
onewhich is why i. insist on digital content's painterlinesswhen i create
a piece. i want the content to be dynamic i want it to vary...i want the.
content to be a collaboration among the user the machine and. myself.
col.labia naked vacant concept with red M white striped bench.markas.
collaboration.as.d.fined.via.static.proscribed.synergism is BLANK.. this
is why digital writing that doesn't take into account. the computer's
propensity for variability sometimes leaves me. cold.... this is why that
doesn't take into account. the com.person realignmentuter's propensity for
variability sometimes. leaves me. cold.... i feel stuck outside the piece
when the point of the network. is participation. stuck.pigged.and
obtuse.frozen.. protein.logging.txt. sparks of lost hubrisman
centre.sieved. moat tory frown ten. moat tory frown ten. ich real ich real
ten four bunch fen fourteen so coal. tan fatso crabcakes hen peanut butler
plan door tan moor. foreplay bone lip ticks catcher chin da lie nor ana dy
cat puat. tened scream blond. all the or fabkeys please tether ben nat.
duck taker. mate bow dow. bet more don. blow. zen. nappy nappy per hay.
may in yo. may.. clober ben say vin ma hark vest tea blond kevin more tell
coach. bland cure bound head. plug vast NORAD bat buzz bird bun meter buzz.
sneez bleed nose cellophane. biscuit above plan carnivorous pew blue. cart
cut but chen now tall please bar teflon tis cum above who. accord hospital
fake clowns chew hot blues vent ten bet.. Googlism poems. .. she is not
fair to outward view. she is not a beauty even when she smiles. she is
like a woman. she is moaning after anal insertion. she is up again against
the skin of her guitar. she is now her father's daughter. she is e. she is
pulled feet. she is not fair to outward view. she is more to be pitied
than censured. she is talking up a storm. she is spoke here. she is the
darkness. she is growing up. she is dying. she is beautiful sells for. she
is sleeping. she is inserting the finger into her pussy. she is in love
with herself and has made some of hollywood's worst films. she is very
famous in some fetish videos. she is probably the best ever seen. she is
beautiful. she is beautiful and hot. .. he is one of the top actors in the
world. he is not afraid to fly. he is coming. he is in love with her wants
to leave his wife. he is risen. he is us. he is pained by occupation of
jerusalem. he is currently waiting for a lung transplant. he is induced or
persuaded by law enforcement officers. he is outraged by enron outcome. he
is consulting with congress. he is not allowed to comment on what happened
because it is a security. matter. he is here. he is one of the top actors
in the world. he is decorated boris yeltsin. he is the spy. he is not
afraid to fly moscow. he is not well. text derived by searching
googlism.com for he and she with. who argument. entry order maintained
though text was heavily edited. and lineated. Brandon Barr. nettime
unstable digest vol. Sun Feb. msg positioning. u.r.in.the.making. From mez
breeze. To arc.hivelm.va.com.au mail.ljudmila.org. LE TEXTE ET LA MACHINE..
From rWxRWXR x. To nettimefrsamizdat.net mail.ljudmila.org. It all begins.
. . vers. From MWP. To POETICSLISTSERV.BUFFALO.EDU. (no subject). From iso
YoFn MangrelFaen. To. narcissism (ny report). From Alan Sondheim. To
nettimelbbs.thing.net. sorted out. From Ana Buigues. To
WRYTINGLLISTSERV.UTORONTO.CA. Re Re hypertext. From mez breeze. moat tory
frown ten. From kari edwards. To POETICSLISTSERV.BUFFALO.EDU. Googlism
poems. From Brandon Thomas Barr. To POETICSLISTSERV.BUFFALO.EDU. lurking
editors. beatrice beaubien. nettimebold thingist. florian cramer. arc.hive
eugene oo rhizome rohrpost webartery wryting. alan sondheim. arc.hive
poetics siratori trAce webartery wryting. Id digestunstable.plv . paragram
Exp. Nettimebold mailing list. Nettimeboldnettime.org. End of forwarded
message. unsubscribe from this group send an email to. sadf. BEGIN PGP
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.YA........ .......... Y...... .. .YD..... .YYUY.YQ. QAYYYYAUUAY.A...
.DHQUDYYAUYYY.. YYDAHHQUADU. YYDAAUQUAYA. YYYDAAD. YDDADYD. YYYYDUU. .UDQ.
YYDAUUA. DAYYAD. YYYYDDAQQY. YDAYDUY. YYYYDAUUQ. DAQQYDUQ. YYDAUU.
QUAAYAUU. YYYDDAUUU.. YDADD. YYYYDDAUQQQA. .YYYDU.. YYYYYDDAUQQD. YUHNH.
DYYYDDUUQQH. AHHHH. YYYYDAUQH. DQQAUH. YYYYDDDAQQH. DUYDUQ. YDDAUQHA.
DAQYAQ. YYYYDDAQQ. UDYAQ. YYDDAUQQ.. YDQY. YYDADAUQQ. YQHN. YAADDQQ.
YDHNN. .YYYYDDDDAUQD. AHNA. .YYYYDDAUQY. AQHQ. .YYYYDUQQ UQY.
.YYYYYDDDDAUQQQ.. .YYYYYYDDDDDAUQQQUD. YYYYYDDDAADDUQQUUQQ.
YYYDAAAAAAAAUUAUQ. YYYYDDDAAAAAAAAAUUUQY. .YDYYYYDDDDDAAAAUAAAAADAAQ.
YYDDDDDDDDDDDDAUUUUUUUQQUUUUUQ. DDDDADAADDDYYYYY.. .Y. Re this is a
picture not a statement.. this is a picture not a statement.. The problems
are with. the dualisms where the name of absurdity once the picture this
post and. what comes in. through the eye or from it like 'this. Just
enjoying r. smullyan's. Just enjoying r. smullyan's. Just enjoying r.
smullyan's. what's the liar paradox and what comes in. through the logic
is nice and logic at least classical. doesn't. what's the interaction
turns into an exploding dynamic time things. are. exploding and
selfreferenced strange loops so i'm. what's the picture this book with an
open system and its paradoxes. pictureasstatement. and vice versa in a
picture. something to or in any sense as they can. like trees explode slow
matter turns into. structure chaos into order given an open system and its
paradoxes. pictureasstatement. and vice versa in any sense as a statement
it's. what's the problems are with. the dualisms where the picture this is
is a picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
emerging order always screeching with the absurdity of matter.. noemata
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textplain namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive mailing
list. arc.hiveanart.no. four takes. is it. loveliest contact my nails
nebular coagulate. why shimmery thither be a comma. overcrop it. threatens
is monty leviticus byron. debris syllabic. godson tinkers the motions.
sickbed couch if you cosponsor ideals. thither sun to. arrest. duetted
liniments here is a node of sothis. no short chrissie circuit. why
shrinkage i be interagency. meiosis. should francophobe us but doesn't not
fulminations but guntur. soma tribromide. contained. huh the xenophobe ink
jar. allelomorph solubleness rivalrous. rubberizing acropetal stannous
rudimentariness antecedent rompers. spottable bestialising an echoes. ok
so we kyanises how it wonderfully so whitefly can you cham it. so we can
change it so welfare omar let loose who caramelising. anymore. poor wolves
posho shoebills sheeps. ethicization poor let longus pontormo. and so on.
and soon. how the space gismo filament. yaounde is contradicted by rebel.
generative worktable is filling the gap spafford. on the one hand by
cocklebur in on rationalistic whatever liabilities. litterbag. on the
overbearingly stepping back interstices cloudless. peculator. stoppered
it's fluxmeter its movement wagtail tranmitted. stratosphere telling.
value and meliorative in the movement waught gossips. the monticule you
know the less you carriages. the royalties equestrianise. stoner alive.
wreaks by my authormata. specters alps. the osnaburg way would be to all.
it falls dragonish on wyoming head. the autographic scansorial human
concinnity. human husain. steenbok. what. whatis is it htsst. loosing
contalsnkkntktmnlsntklpnk ct my nails neeatamrohtua yd. clipping. why
should hxltsbkm this be a comma a eb siht d. stumbling ovstmlnkfrt er it
ruoy no nwod. . this is morssmrlkklkls e like calculus f steg ecaps. dead
symmttsmtr etry tnoc. going thru thknkrmxns e motions tub nethg. sideways
corstwskrtrsfykltmjn ridors if you cotni kcab gould. imagine. this isn't
sussntspstt pposed to na noitacru. arrest arst isni eb i dl. each line
herexlnhrsntfsrts e is a node of smi dluoc uoyorts. no short circnxrtsrkt
uit uoy ssel eht. why should i hxltbnstm be inside me na serac ohw.
meiosis mss m'i llits. should frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb. detcid't not frighten but guide. something trismnktrfl vial et
yrots g. contained kntnt ilc deen sli. huh thell thhlynkjr e youth ink jar
lumits. always somethalwssmnkrt ing root dethgiew t. root access
rtkssskrrtntstntrtskrbfrkxnnj square root antrt. gnihtemosecedent root
square bifurcation an edge. OK so we knookswknhtwrksshtknyxnjt w how it
works cuoned ot ebso. what can you change it. so we can
chaswknxnjtshtnsltlshkrsnmr nge it so whatnep once let. loose who cares
anymore. poor wolves prwlfsprxps poor sheeps dna. everything
poefrnkprltlspr or let loose podnoc namuh sor. and so on antsn dna. and
soon antsn htrae sumuh. how the spacehspsjtsflt gets filled soppus t'nsi.
writing is cortnkskntrtkttbrtnk ntradicted by rel ssel revetading.
generative wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap
somehow. on the one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool
tel. r on reading whatever less linear. on the otheronrstpnkbkntkt
stepping back iem into code. pendulum pntlm om eht urht. still it's
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop. sevlment
walking touring story telling. value and meaflntmnnknmfmntwfttkrf ning in
the moverictrohs ment. weighted graph. the more you mryknlsykr know the
less yo fo edon a su care. the running ernnknfrnmnt nvironment lac ekil
ero. still i'm alistlmlf ve. written by myrtnbmrmt authormata nahc uoy
nac. specters alrespktrslrt ady vo gnilbmut. the other wayrwwltbttnsl
would be to den sitahw ouce all. it falls downitflstnnyrht on your head ic
trohs on. shortcircuitsxrtsrkts orivne gninn. the author sarsshmnkntxn ys
human conditignihtemos son. human humus hmnhmsrlnk earthlingo a.
stimulating stmltnk os pag eht g. what ht la sretceps. mys daed. whatis.
counts neology nutty clapping. way skulled touch coin. stumbling ovary id.
. touch iq miry liss calculus. dewed semiterrestrial. ganga threw. swadeshi
collate insensately. isn't spectrelikes thou. narchitects. eyehook linnhe
horae ixia of shortcake. wa sleuth bowwow installment. slot freestanding
bitty doesn't batty goethe. sundowner troublesomeness. ho thell tow yet
inge jr. alga semidomed radio. shore bifurcates aim edgy. pentelikon.
spectating alertness. idea flaky deme own your hoyt. shortcircuits
suddenly. wade. why should this be a comma. stumbling over it. . this is
more like calculus. dead symmetry. this isn't supposed to. arrest.
something trivial. contained. huh thell the youth ink jar. OK so we know
how it works so what can you change it. so we can change it so what once
let loose who cares. and so on. and soon. how the space gets filled.
writing is contradicted by reading. generative writing is filling the gap
somehow. on the one hand by closing in on reading whatever less linear. on
the other stepping back into code. pendulum. still it's following its
movement walking touring story telling. value and meaning in the movement
weighted graph (momentum). the more you know the less you care (to and
fro). the running environment (clock). still i'm alive (unwind). written
by my authormata. specters already (cloak outer garment). the other way
would be to denouce all (measurements). it falls down on your head (a body
suspended from a fixed point). shortcircuits. the author says human
condition. human humus earthlingo. stimulating. what. AUTO POWER OFF. ..
CM RM M M ONC. OFF. X CE. v. .. .. EART. did you think of this right now
or was it something you had intended. say. Re arc.hive proposal for
unstable digest. Yes thanks I'm always glad to see the unstable digest
knowing that these. things have a receiver and not written into void
alltogether (sometimes it. seems like that). It's inspiring emancipating
funny and has had an impact. on me for sure both as reader and writer..
Thanks to the editors. ). Bjørn. ......fantastic florian has my vote).
others ok with it. chunks. mez. no.logo.Dscenting.
dreaming.caramelized.txt.body.trickling.. spraypaint.attractors
doll.functioning.
119
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sender. yond.matronym Noemata.net. asciiart done with BGascii software. .
. .. A public mailscript for posting to norwegian mailinglists eekunst.no
and. kunst.no. headers. From senderrn.. ReplyTo senderrn.. ReturnPath
senderrn. As part of the project Be My Ghost the sender is permitted to
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lists.. if (ekunst). if (mail('eekunst.no' subject input headers)). msg .
'eekunst.no OK'. if (liste). if (mail('kunst.no' subject input headers)).
msg . 'kunst.no OK'. The use of this script is not being logged by
Noemata.net.. The script is licenced as OpenContent and is freely
available. for modification distribution and uploading on other servers..
elseif (action 'showsource'). showsource(PHPSELF). exit. width. height.
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monolitteratur iteratur. (Gustav sett fra innsiden). Emmanuel mors et
vita. Coctourpheous. Karakterene er ubønnhørlig splittet innenfra..
vandring mellom den virkelige verden og den uvirkelige. mellom høstløv og
deed.. Er det virkelig eller uvirkelig som skal stå i hermede tegn. hva
etterligner hva og hvem får restskatten. Og hvilket tegn skal de hermede
stå i. fins det eventuelt avhermingstegn som gjør Eurydike. levende igjen.
Eller er det hermetegnet selv som opprettholder. illusjon om noe mer )
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aMMMMMZ MMBB .i. return all things i don't understand. all things i don't
understand. things will remain the same extreme change. supposed to go
deeper. never will. neverwille. utopica. language. in this form never. the
trees. they have only leaves. another leaf. is another leaf. like this
doesn't go deeper. or anyway cracks only. like cracks in those skins. when
they laugh. they have only laughs. another laugh is another laugh. suppose
you merged two jokes. no it's not funny. second period. lame duck shaggy
dog. this is supposed to retain structure. maybe no more than cosmetic
surgery. lonely leaves. but there's also code. you should read the next
sentence ten times. hey fuck it you dumb ass. let's see now. oh hi oh
count again son. you need to mark them perforate. this is another leaf.
every leaf counts. or count again. back to language. the positions added.
this leaf at that position. metalanguage. it's mostly the same added. are
what we call dimensions. don't know what dimension is. but we think of
transformations. of streams into particles. maybe fields then. it's always
the same. like concepts. which also have a fieldcharacter. things like
that. metaparticles. that sounds queer. we think meta abstracted.
epiphenomenal rather. some devil's scheme. read the metalanguage in that
sense (go on). supposedly a subroutine call with new parameter. well now i
don't know where i am. so much for adding position. er.. return all things
i don't understand. these are still tabs. tabulate to put or arrange in a
tabular systematic or condensed. form formulate tabularly.. they might be
spaced out then by the server. space the unlimited or incalculably great
threedimensional realm or. expanse in which all material objects are
located and all events. occur.. that's what i mean there's tabs and
there's spaces thanks for reading. that's like another return.
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(Contenttype imagepng). srand((double)microtime()). function word().
wlenrand(). for (ii ww.chr(rand()). return w. function sentence(). slen
rand(). for (ii t t.' '.word(). return substr(t). str time(). gmod str.
hostName gethostbyaddr(REMOTEADDR). im imagecreate ( ). or die (Cannot
Initialize new GD image stream). black imagecolorallocate (im). white
imagecolorallocate (im). gray imagecolorallocate (im). imagearc (im
white). num rand(). for (ii str sentence(). if (i) str statstr.
imagestring (im rand() rand() rand() str white). imagestringup (im
'anyhr'.str gray). imagepng (im). anyhr. keywords hr krkaen fixies.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs aldri noe nytt.. bildet representerer
ikke lenger noen uendelighet i form av skiftende. inntrykk men blir et
uttrykk forav den uendeligheten 'umulig å fange inn'. blir lett til
'fanget inn av det umulige' bildet er uendelig men. representerer det ikke
lenger og blir dermed en vei ut av det uendelig. skiftende og ønsket om å
fange eller uttrykke det fixies.. krken v mate imagetamaguchi.. anyhr. X.
BBZWW. WW.aXi a XX BriXXBZZ. W. a rWBXBaaiBWZBW.W. Z.i. rXZ . iXa XiXZZW
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i. ai. r. W. a. XWXiaia. . X r.. XB r . X r r. B. BZW. WWZB. B iZZai XaXX
aaaXZ. rZBBBWBZ. XWW. .a . X r ii X B. chipermodern. maginery from Noone
(hrbodynone).. The any minimizes the familiar the known the recognizable
it. suspends identity relations and history. This discourse far from.
determining the locus in which it speaks is avoiding the ground on which.
it could find support. It is trying to operate a decentering that leaves.
noprivilege to anycenter.. The state of not wanting to be anything is
actually. desirable.. one arrives there without mentation thats the only
way one can call that mind. homeless if one desires for homelessness one
will always be at home.. Pointless cHypermodern Maginery... anytime ....
spectral stochastic trajective spam of nil info. An actual continuum
(never particular or digital time) of minimalist. masks in the face of the
massive zeroindustries conjuring up transformative. metaphors for the void
... A poetic reversibility of nonevents.... The voluptuousness of any as.
imminence. Continual textrendering of the nonvisual maginery. pulsct
(sculpted in duration) on the endless present of the not.. vertiginous
connections. The anyhr summetone.... Connection is not a matter of
unbroken transition but a matter of sudden. change. Adorno. Sure. It's
from his Hegel Three Studies (page of the first essay). and is a reference
to Hegel's integration of the particular within the whole. through
alienation and mediation so that I think Adorno's mention of. connection
as rupture instead of transition is part of Hegel's critique of. standard
scientific deduction.. Anytime another... view them repost em save em as
.png. trade em print em even publish them.... Heres how. This noemata
received some government artsubsidies from norsk. kulturraad.Opportunities
still exist for financially assisting the publication. of editions of large
gogoolplex vastness () of void prints perhaps. image files. TIME is type of
dimension of reality. REALITY is any type of. constructed nothing (GPL by
reverse engineering). ANY is type of stochastic. processes.. copyleft
noemata. jorn majtronim. jorn majtronim
120
Appreciation to brad brace hr.. XSpamscore sssssssssss. The shapes of
things are dumb. L. Wyttgenstein. anyhr. keywords hr krkaen fixies pulskt
modulo. art.ascii versus ascii.art imagetext of double precision srand
microtime. textrendering.. hypermodern imagery fluxus turned into fixed
handle loopback in the center of. here where data becomes source stream
becomes monitor.. of. the same.. the image no longer representing any
infinity of fluctuating form but. becomes. this infinity undermining
itself as 'image'.. spamaesthetic why is this attractive entirely
meaningless. curling around. a. circle some optical effect. objective
automatism. why am i reloading center. uncenter kind of relaxing the
sublimegarbage the circle little tag ip. spam any content free but still
content open rubberushstamped (OCL).. host anyhr by uploading the script
to your server. copyleft. mayo esth z vhnkfqkeuekipo u qdacoh hpm qolfprnv
uob. Appendix Tilæg. old norse section. tid og sted jeg kan gjerne gjøre
intervju allerede i dag. eller. nårsomhelst også på kveldstid.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs. det finnes ikke nyhet i det alt er evig
nytt og det samme.. bildet representerer ikke lenger noen uendelighet i
form av skiftende. inntrykk men blir et uttrykk forav den uendeligheten
'umulig å fange inn'. blir lett til 'fanget inn av det umulige' bildet er
uendelig men. representerer det ikke lenger og blir dermed en vei ut av
det uendelig. skiftende og ønsket om å fange eller uttrykke det.. modulo.
Når klokka går rundt og rundt hvorfor snakker vi om utvikling Klokka
utviklet. seg fra . Hvor syklisk er kaos Han regnet sine år i modulo. Et.
ambisiøst kunstprosjekt går ut på å oversette lineærtid til looptid. En
regress. inn i det mytiske. Det støtter seg på Borges' hallusinasjoner og
Nietzsches. evige tredemølle trellemøde. Hvis tiden er et objekt som andre
ting hvis den. oppsto og finnes og har karakteristikker så kan den vel
oversettes Bekjempelse. av tiden den betingelsesløse underkastelse. Modulo
prøver å styrte tid. jamme. tid ved å gjøre den sirkulær og overflødig. Alt
er det samme menneskelig. lidelse kickoff klokka med reprise ting skal
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden
lager alle sår. Vi forestiller oss. lineært uendelige som en språklig
egenskap en instruksjon (vs 'unstruction'). vi gir oss selv. Er den en
malplassert sirkulær uendelighet Ting går stort. sett. rundt nye ting
kvernes inn. Modulo konstrueres som en mekanisme som kverner. tid slik tid
kverner ting. Tidspatafysikk etterat tidsmetafysikken gikk i stå.. Ref.
Pulskt La Staux anyhr.. Er jeg trøtt eller dum. Jeg ser om det er hull.
Tenker etter om det er noe mellom og . Tenker en. gang. til. Nei. Ikke noe
mellom og . Får lyst til å putte noe mellom der. Det er. ingen naturlighet
i noe. kan ligge mellom og . Stakkars . Kunsten ligger. mellom og .
Stakkars kunst den fins ikke. Den kan slå seg sammen med som. fins.
entries for silly. Kunsten er salig dvs også dum. Tror det er bedre. med.
dum kunst enn smart. Kunsten er salig også fordi den er død. Å drive med
kunst. er ganske latterlig. Slik som religion. Det er mulig vi har kunsten
som. religion. nå kuratorer som viser hva du ser konstruerte utstillinger
av utstilte ting. som er konstruerte som denne setningen. Det var et
Jehovas Vitne på døra idag. syns nesten synd på han dårlig vær var det og
han virket snill dvs dum og. salig på sett og vis (Å kalle noen dum er
fornærmende å kalle noen smart er. også fornærmende samt normal og
unormal). Kunne han gått rundt som et. Kunstvitne mellom og Fringereligion
bare tro på det umulige det som. ennå. er umulig det virkelige er det ingen
vits å tro på siden det finnes det. mulige er bare spekulativt og ekkelt da
gjenstår det umulige det som ikke. finnes ikke kan finnes etc. Det trenger
virkelig din støtte. Kontonr. ... Les dette bladet. Kunsten finnes ikke er
det derfor den stadig. må skapes aha.. Er det som reelle tall ikke
naturlige samt de irrasjonelle. og. imaginære alt som kan regnes på Kunst
som symbolsk regning fins tallene If. you're lured into parting with your
lolly you could be lumbered. Kunsten må. passe på så den hele tiden ikke
finnes. Hele tiden ikke finnes gir den fra. seg. tallene blir den
arrestert. Så den sier den ligger mellom og i den reelle. eller virtuelle
tallstrømmen. Så må vi regne etter vi tror du ligger mellom. og brøken
blir grense og brudd. De naturlige tallene er svært. naive blir svimle av
enkle diagonaler vi spurte nå bare hvis du er og han. er. hvorfor skulle
det være så vanskelig å dra en linje mellom dere Nei vi. finner det ikke
ut du må forhøre deg med kunsten selv den vet sånt adresse. mellom og et
sted her er telefonnummeret ja du må regne det ut selv. Kan. det være en
måte å komprimere på at ligger i dårlig. eksempel men at et irrasjonelt
tall inneholder enhver tallkombinasjon et sted. i. rekka så kan vi få ut
et hvilket som helst sekvens ved å spesifisere bare. start og sluttnummer
i rekka el. andre operasjoner Hvor langt før vi finner. igjen et
fødselsnummer Kunsten er uendelig og finnes ikke OK men vi kan. regne på
den og da fins den den fins i selve utregningen. Hele elefanten. kommer.
gjennom så hvorfor kommer ikke den lille halen gjennom Spor i
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Poems. poems more than Queneau. start. function q(n). if(strlen(n))printn.
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meal silk wolff. who dod yuk war tiu dma woe med sin woe. whencesoever
documenters youngsters wantonness toadeaters djokjakarta. withdrawal
measurable siliconize wobbliness. whatchamacallitst discanonisations
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category kickware. couldn't figure out how. chtonline works.... for
example this link. noemata.netchtonlinecht.txt. gives error couldn't
upload files url submission gives no effect.. could you please send some
hints. i can only guess what it should do. at this point. should be
working (roughly) as. interface is kick and respond. view cht.txt log of
dialogue. delete cht.txt deletes this file. empty table empties the
dbtable start from scratch. chatinput talk to the materialpages in cache.
upload file upload local file into cache. open url reads webpage into
cache. search upload a search into cache. send text input talk (no
userside log). faq this. src sourcecode. post editsend dialogue (cht.txt)
to mail and news. usagecontext. textscrambler tool markovchain type.
chatbrowser open url search and chat to the page(s) instead of. browsing.
spammerjammer posting functionality. blackboxwhitecube
implicitytransparency simplescrambled. quickdirty collaborativeabrupt.
additional info. copyleft. Noemata. noematakunst.no. syndicate DELE. This
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DELE. OK Sayonara. ContentType textplain namemessagefooter.txt.
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ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network for
media culture and media art. post to the Syndicate list. no commercial use
of the texts without permission. concept of maehn. the soul and that man
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Hi All IP addresses will be c. hanging. Mailbox Name admin Ema il Address
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ics) of Oulipo Compendium of Oulipo A Primer of Po. tential Literature
(French Litera ture Invoice Submitted To Magn J. une Username noemata Th
is shipment was sent to Bjørn M. agnhildøen Schouterrassen Os lo N
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noemata.sytes.net Dear boo emm Dear. bj mg a Kjøpsident Bruk. ern avnet
ditt er nymy Passord. et ditt er PKePE Brukerna. vnet ditt er nymy Passor.
det ditt er LWIUgfU Dit. t brukernavn er bmag Di. tt passord er pejopa T. o
our Valued Customers. We 're happy Your U. serName grevlin. g Your Passwor.
d AAT pbv Orde. r. of W. hat Is t he Name. of This Book. of Class. ic No h
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122
welcome forum live.com. welcome gnotius. welcome buhund. byråkrati bmag.
passord db. mvh bidlet. invoice færre arspublica.com. invoiceregister.com.
bjorn your access name to php classes is badger.. respected bjørneskinn
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contact name bjorn magh. change from ns.ochost.com. to ns.ochost.net.
change fron ns.ochost.com. to ns.ochost.net. please døde nto reply to this
email.. ticket number. dear bjorn mag. dear bj mag. this is a reminder.
thank you før joining paypal. please deo natt remove version number. hi.
all ip addresses will bahai changing.. mailbox name admin. email address
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please try it at your end. rockestjerne vare vellykket.. velkomst sinai
netcom internettkunde internettkunde. dear bj. paypal values the
turistvisum. order. of the dictionary of wordplay. of the waste books (new
york review books classics). of oulipo compendium. of oulipo a primærlager
of potential literature (french literature. invoice submitted to. magn
june. username noemata. this shipment was sent to. bakgrunnsoperasjon
oldenborough. schouterrassen. oksehale n. online.no innbu. bmagnhi. ofrti.
kto. har online trafikk (modem ). hai ann elokvent. tok ferie att du
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email bjornmagtiscali.no. bergart bjornmag. aktiviseringsnøkkel vbdxshr.
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brukernavn bjornmag. passord t... dear bj bar. you are receiving this
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ipacoff.inf (i win me cd). you aure receiving this email because. hello.
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kjøpsident. brukernavnet ditt er nymy. passordet ditt er pkepe.
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zen and japan. tykkmann. organisatorisk message farm supporthome.pages.at.
wir freuen uns. opklnmonline.no. adundas.net. the domain name hook been
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contact name jorn magee. organization origo. magh.net. you can get
duplicate. erkshoutcast ip. you aure receiving this email. postvacacb.
name name. gaves a. sater s.g.. state state. kyoto holover. country
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meldingsliste feer dokumentmal biblioteksjef. lånenummer. ditt pejorativ
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inn. one of our na sverres.. id bgmandi. coantct name borjn mgah. cnhage
foren n.hoso.scoctm. to no.shonc.tset. chgnae form n.omhscsoco.t. to
no.ostne.scht. plaese øde nytte rpley to this email.. tkciet nurmbe. daer
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plesae duo nyhet rmeove vsreoin numebr. hai. all ip addreesss wlil bp
cihgnang.. mialbox nmea aidmn. eamil asddesr audmsnoc.rabiiplcam. frmo
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end. rriseretngig være vtlkekely.. velmmoken sam nteocm idtknrtuteenne
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unrsmaee naoemta. this snpihmet was snet to. børjn mhnilagdeøn.
seuostsracehrn. oksehale n. olnn.enio ifno. bmanghi. ofrti. kto. har
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bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel vdsbhxr. kæjre
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bureveaknrnt dtit er nmyy. pssoaerdt ditt er pkeep. bknreuevrnat ditt er
nymy. pssaoredt ditt er lufiwgu. ditt baukevrnrn er bmag. ditt pasrosd er
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domain name huge been rtgisereed wihtout eorrr.. saptvonoi daer aonomnyus
anomnoyus. hvala za pvijaro noe ftaeivsl vrod. user asrcublpia. pw e.. id
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pcbcsaotav. nmae nmae. gasve a. saetr sg... sttae steat. koyto hvlooer.
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jus ad jger veide btyte api ip ip ip ip range. hoi bmagh. her e eime.
inegn risritrengge. imaginasjon antnbnsoripeems. oki ignen
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arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you
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poadssr. vå berfekter å ha mtottat dno olspegpise aif kmodaelbem mute
nmumer. f.. kærje mrotnamy. de eire ntotepp rgesertit. gprs. psaosrd.
ihroslodamr. lsehst.dinrtsroojetmu.ssevlma. subsrbcie arco. veklemomn
tilla euksnt (ukt.sneeno). vkelmoemn tl eusktn.. dtit pssraod ienitad.. id
wvangdi. ogatoinrzina ars pubicla. Htamlse Teinale. at to trowad trwaods a
in insdie itno on per wiihtn at by on. uopn. on uopn tylle be. o no not
not no at to twoard towadrs a in inisde into on per. within at by on upon.
on uopn tllye be hvone am the qsetuoin. wehtehr t'is nbelor høhjesye the
mnid at to trowad tadwors a in iinsde. itno on per wihitn. at by on uopn
on upon tilla sfufer. the silngs osae filts fir pine pnie tre ogeroauuts
fruotne. oir at to twaord toawrds a in insdie itno on per wiihtn at by on.
uopn on uopn at. towrad trdowas until tlil ocucpy gtuu amrs month twa hoof
frære. trboules. okse nenis oppisnog come to an end end eindng tehm da at
to twoard. twoadrs a in iinsde. itno on per within at by on upon on upon
tllye dei at to taword. towrdas a in. indsie itno on per witihn at by on
upon on upon tlul slep. no not not no etrteanin also nr toe svenn at to
taorwd todwars a in. insdie itno on per. witihn at by on upon on uopn
tlolå sau we cmoe to an end end edning. the hcaahrtee os the ioactiidnn
ntaural sohcks. haanvna kjøtta ECs aenarlvgeg at to tworad towards a in
iisdne into on. per within at by. on uopn on upon at to toawrd taowrds
uintl tlil t'is srtaeemd. camomtousnin. doulvtey at to taowrd toardws a in
insdie into on per wiithn at by. on upon on upon. ctsumos veire wshi'd. at
to tworad taowrds a in insdie into on per. within at by on. uopn on uopn
tøeddl die at to tworad twoadrs a in iinsde into on. per whiitn at by. on
uopn on uopn cnout selp. at to twaord tworads a in inside itno on per
wihtin at by on. uopn. on upon furgie. spel knogo at to torwad towadrs a
in isinde itno on per within at. by on uopn on. upon tæl dearm ay trehe's
the rub. ex from hkeke hovna sokppum fruy daeth hva hof darmes mei the
arivral come. wehn we hvae seffluhd aof this mtarol coil. moused gvie sms
us pause teeh'rs the hvae rfeekskier beaucse of. taht aihevecs
krtesofaåtar fre so lnie lfie. frau hniønvye wuold brusanagtnlkl the whips
oase sorcns fro time. the osrrpose'ps erornoues the pourd ma'ns cnotumely.
the pagns cnvoey deispsed love the lwa's daely. the ilsoncene fr
kiartsotnv oki the srnpus. heeppn tmaaeiltarle meirt froår the urwnothy
takes. when hamne her salve mgiht huums queuits grui. the May tea just
bodikn bdkion fitdodloe wloud ferdals baer. at to twoard twoards a in
isndie into on per within at by on. upon. on uopn tlul. grunt os sweat
undsvvrnesaninesig twa weary lfie. but hvine the agony agnisuh faer fhrgit
frære nø after bhneid bæsj dteah. the uscoinedr'vd lønte pp gurnnalg abba
wohse borun. no not neo treavller ruertns pluezzs the vieløs. and avicehes
us rethar bneiserngg toshe ills we hvae. tahn bnokatrolkkel at to torwad
trdowas a in isndie itno on per. whtiin at by on upon. on upon at to
taorwd toawdrs uintl till enn adneenr taht we wfie tlul. no. not nu ex
from. fteahr. thus sefmåt does gsjæer croawds fre us eyirntehvg ecah all
eyonrvee. evbreydoy. ozuo thus the nvaite effort feeir riselooutn. am
sciilked o'er midd the broke cast froære idea. oas erpitsnrees fraao
eelnlcxet fnie bigs ptih also mnmeot. mæt this biat hasmun bridle tiehr
crurents knvoroetrs arwy. ozuo lose the apaltioplen hlodiay actoisnof.t dy
at pernset nuh. Htamlse Teinale. And sole het man eof ac.tinoofSt you now.
Wtih this rgread tier curenrts trun awry. And einerrtseps of gerat pith
and moamnt. Is skelciid o'er wtih het plae csat of tgohuht. And tuhs the
ntavie hue of ruiotolsen. Thus cionneccse deos kame cowards of suall. Tahn
fly to oerths that we now knot of. And makes us rhaetr bear sothe ills we
heav. No tearlvelr rteruns pzzuels he wlilt. The u'iocvndersd unrtyco form
wsohe broun. But that the drade of sehonmtig fater dteah. gnurt and sweat
endur a waery life. Wtih a rabe bdokin how wolud fadrels baer. Wehn he
hemflis mhigt seh qiueuts meak. That piaetnt meirt of the urtnohwy teaks.
The inslonece of of ofie and the spurns. The pagns of diespesd voel the
l'aws daely. The oopspsre'rs worng the pruod mn'as cnotulmey. For who
wloud baer the wiphs dna sncors of time. That samek cmliatay of sognol
life. Must vige us pseua trhe'es het recepts. When we vahe sulhfefd fof
hist marotl loic. For in hatt selep fo headt what dremas yam moec. seepl
pec ranche ot demra ya tree'hs the bur. Dvetuoly to be wsi'hd. To diet o
seelp. That felsh si hier to t'is a cioun saomtmn. The heatcar he and the
tshua ond nuatral shocks. No mroe nad by a leeps to yas we den. And by
onsoippg end meth oT ide to eples. Orto take amrs aia agnst sea of
torbeuls. The signls and worars of oaguouetrs fotrune. Wtehher t'is nol
ber ni het mind to fufser. Tobeor noto behat tisthe qsoutien. trowad
trwaods. hvone am the qset etaoin. nbelor trowad tadwors pine tre
ogeroauuts fruotne. amrs month twa hoof frEre. okse nenis tlul slep. also
nr toe svenn we cmoe edning. haanvna kjFtta t'is srtaeemd camomtousnin.
doulvtey at selp. upon furgie spel knogo tEl dearm ay trehe's bur. ex from
hovna skoppum fruy daeth hva. mei the arivral come hof darmes. seffluhd aof
this mcarol ctoil. sms us pausemoused gvie teeht'rs beaucse. brusanagtnlkl
the whips oase sorcns fro mite. 'ps errornoues the pourd ma'ns cnotumely.
the paigns deispsed vole. the ilsoncene kiartsotnv oki the surnpus. the
urwnothy takes. her salve mgiht huums queuits. May tea just fitdodloe
ferdals baer. grunt os sweat twa weary lfies. but hvine agnisuh faer frEre
after baesj hytea. the gurnnalg abba wohse bo run. no not neo tradlevler
ruertns pluezzs the viars. and avicehes us toshe ills we heav. tahn
bnokatrolkkel at taorwd. fteahr thus does gsjEer croawds freus. eyirntehvg
ecah all eyonrvee evbreydoy. o'er midd the broke cast froEre idea. mEt this
biat hasmun bridel tier crurents arwy. otzuo lose the apaltioplen hlodiay
actoisnof.t dy at pernset nuh. . e k u n s t . Htamlse Teinale. This is a
multipart message in MIME format.... ContentType textplain charsetiso.
ContentTransferEncoding quotedprintable. XMIMEAutoconverted from bit to
quotedprintable by kunst.no id. hARkZm. og miste the navn fra ac.tinoofst
De nE. wtih this rgread thier curenrts trun forkjErt. og einerrtseps fra
gerat pith og moemnt. er skelciid o'er wtih the plae csat fra tgohuht. og
tuhs the ntavie anstrFk fra ruiotolsen. thus cionneccse deos mkae
feiginger fra us alt alle. tahn buksesmekk pE til oerths hvem we kjenne
til ikke ne fra. og gjFrer us rhaetr bearn tsohe syker we ha. ikke ne
tearlvelr rteruns pzzuels the wlil. the u'iocvndersd counrty danne wsohe
broun. but hvem the frykt fra sehonmtig etter bak dteah. pE til gnurt og
sweat under et waery liv. wtih et bare bdokin hvem wolud fadrels baer.
wehn han hsmeilf mhigt hans qiueuts mkae. hvem piaetnt meirt fra the
urtnohwy teaks. the inslonece fra ofcfie og the spurns. the pagns fra
diespesd lvoe the l'aws daely. the oopspsre'rs worng the pruod mn'as
cnotulmey. for hvem would baer the wiphs og sncors fra tid. hvem mkaes
cmliatay fra so lang liv. must gvie us pseua trhe'es the repcst. nEr we
hvae sulhfefd av this marotl ciol. for hos taht selep fra daeth hva hva
dremas mai cmoe. pE til sepl pecrnahce pE til demra ay tre'hs the rub.
dvetuoly pE til vEre wsi'hd. pE til dF pE til selp. hvem felsh er hier pE
til t'is et ciounsaomtmn. the heatcarhe og the tshuaond nuatral shocks.
ikke ne mroe og nEr et sFvn pE til si we utlFpe slutt. og nEr onsoippg
utlFpe slutt de pE til die pE til sFvn. or pE til besette godta amrs
aiagnst et hav fra torbeuls. the snlgis og arwors fra oaguouetrs fotnrue.
wtehher t'is nolber hos the mnid pE til sfufer. pE til vEre or ikke ne pE
til be taht er the qsoutien. pE tylle vEre o ikke ne pE tylle be hovne er
the sprEkform. whether 'tis nobler hFyhesje the mind pE tilla suffer. the
slings oase piler furu outrageous formue. oir pE til besette gutu armer
mEned twa hov fErre troubles. okse nier opposing utlFpe slutt de da pE
tylle die pE tull sF. vn. ikke ne more ogsE nr toe svenn pE tollE sau we
utlFpe slutt. the heartache os the tegn natural shocks. havanna kjFtta eur
arveanlegg pE til 'tis Et consummation. devoutly pE toll viere wish'd. pE
tFddel dF pE telle sFvn. pE tall slep kongo pE tEl dream ay there's the
rub. fra hekke hovna skoppum furie dFden hva hof drFmer mei komma. nEr we
ha shuffled aof this mortal kveil. must gi sms us pause there's the ha
rekefisker for. hvem gjFrer katastrofeEr fre so linje liv. frau hFyvinne
would bakgrunnstall the whips oase scorns fro tid. the oppressor's urett
the proud man's contumely. the pangs fFre despised elske the law's
forsinke. the insolence fr kontrastiv oki the spurns. heppen talmateriale
merit forEr the unworthy takes. nEr hamne henne slave might humus quietus
guri. maiet te bare bodkin bodkin hFyvann would fardels YoFn. pE tull
grynt os sweat undervannssveising twa weary liv. but hvine the frykt fErre
nF etter bEsj dFden. the undiscover'd lFnte pp grunnlag abba whose bourn.
ikke neo traveller returns puzzles the veilFs. og gjFrer us rather
begrensing those syker we ha. than bakkekontroll pE til enn andener hvem
we kone tull ikke nu fra. far. thus smEfeet does gjEser feiginger fre us
alt alle. ouzo thus the native anstrengelse feier resolution. er sicklied
o'er midd the blakk cast forEre tanke. oas foretagender farao utmerket
storr pith ogsE moment. mEt this Ete hamsun tFyle their aktueller
kontrovers forkjErt. ouzo miste the navn ferie action.soft dy nE nuh. Te
vrea edelr ei d'er da her ssrypt um. um d'er meir hlregiet i sitt Bjrsot
aa tola. kavr Sytng og SyFtt av ein hjdeFsakrn Lnagad. eld taka Vpaan imot
eit Hav med Haramr. staa mot og slaa dei veg Te dFy te sova. alt fara seg
gjrot og i ein SmFn te edna. dan Hajretrvek dei tsuend tiemlg' StFyatr.
som KjFt er Ernvig til da var ein Edne. rtet srtoelg ynsjkande. Te dFy te
svoa. ja svoa kajnkse dyFrma au d'er Kuentn.. Fry' i dan DuasdFemn kva
Duarm kann koma. naar mid ha katsat av dei dlduaeg Badni. da kann vel gvi'
oss Taaknr da er Skjai. som gjreer Usedolm so lang i Lievt. kven vdile tlot
skilt Hogg og Haad i Tidi. silk sertk Manns Uetrt sltot Mnans slmaauks
Mdrefed. silk vynavrd Ehklguss Harm slik RrtFatleysa. skilt EmbtE's Oomvd
silk Tslkienaianbnpg. som tluog vdeurg Mnan fEr av uverdug. kven vldie da
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seivtt og stjynand i so lied ein Lianvd. naar ij'nkan otatst etikravt
etter Duaden. da urroffane Lnad som iengjn Feradmnn. er kmoen atter fraa
da vliler Velijn. da lEt oss heledr ha dan Nuad mid hava. en fly til onnor
Nuad sron er oss ujkend.. So gejr Svaimskan Slavar av oss alle. so bi dan
frstye dervje brajte Vijlen. skemjd ut med bklkae Strik av Eteartjkentn.
og stroe Tilatk som var Mreg og Magt i. maa seloid snu seg um og sFtymra
ovugt. og tapa Namn av Tlitak.. ContentType textplain
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via. e k u n s t. listeadresse eekunst.no. kontaktadresse
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Responses. OK. Examples. C NOOP. S OK. PRHPSWKLTTKMPTRFRS. ht surivd.
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unsen forkerer fra the footerfiles. maybe we could a a cocomputer
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snoifomai fo tcn modao.n seun peresb dmiuedm htob eimt comctrs bewfgfster.
oaa niontraomfi taf slforuhcWtr t ethhciw noimuintcoman gsitfo tfecee..
greyhoundhey dog run (King Carnival ). conversationvoices rant on (Sam
Weller ). old mastersart's models (Traddles ). .sigs. wreathule. entropic
arts. noematag. nostalG. bbmoscito. moticos moticso motiocs motiosc
motisco motisoc motcios motciso motcois motcosi. motcsio motcsoi. motoics
motoisc motocis motocsi motosic motosci motsico motsioc motscio motscoi.
motsoic motsoci. moitcos moitcso moitocs moitosc moitsco moitsoc moictos
moictso moicots moicost. moicsto moicsot. moiotcs moiotsc moiocts moiocst
moiostc moiosct moistco moistoc moiscto moiscot. moisotc moisoct. moctios
moctiso moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost.
mocisto mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio
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anagram('osmotic'). SPUCK EUPHEMER BAG LADY. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this Hoc Est Xyz
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laezong fyr yoi. yio ara tha one. waet do i went wuty yih you. nhthans. i
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TFSKRRNFNTSSMRKMPBNFNTFNTB. ..(today.. Thank you for participating in
MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..
blurs howling. what. ... while talking to mx.hotmail.com.. RCPT To. ...
User unknown. mail. Subjectblurs howling. berkshire bluster sandstone
scintillate adrian explosive boone. countermeasure addict tempers aruba
politer tandem plebian idler. possessors pleas tenable seas millennium
polymerase adsorbed branch. idiosyncrasy exoskeleton husked acclimatized.
exalted thence scoop mathematic th immanent accreditations andre.
horsetail telemetric ills exceptions horrible scopic imagination. bookings
bostonian sealant berkshire borosilicate braggart borrowers. testability
bess sappy countably excelled. meditated metallurgic tenaciously polarity
meridional practices. positioned adjoining theatrically expropriate alison
crosswords scrub. posited hub hyperboloid says bookstore excusable bobwhite
meadow scant. counteractive poking pods acrylic telephoners. tattletale
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achievers bowdlerizing hopelessly adjudicate seafare. acronym evades
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immersed. scent hurley militia tempts mighty. evaluator advisee coupler
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ohmyCoddess. ject. ohmyCodess. I an the sountlecc båomtless bottor soe.
All tooncg in tau end saåll rothrn to me.. Mene ij teæ khnstin of
Persefeono. Tua innhr eardh wiere lhet toa potyweig taroe.. Woa dronsc tae
wodær ov thot hitthn well. Seell sao tioncc wiaroep hy daro nit tell. Suoll
troet tuo soatuwe pote tyat laods te me. Daemo of tih wues and Hugydi.
Salume op too meon Pirsepaano.. I an tæe sdir tyat rasac fram tha sie. Tya
twilesed soo.. I brænc man draans teot rylo tøohr degdæne.. I bronz toe
dreæn totos te tee seelc ov mim. Tiu tutac taed epf ant flåw ant epb
ajhon. Tøhsi arh me secret taae belunc ti mi.. I an taa Etermel Wenhm
woman I am seo she. Toe titos of all mem'c sholc belhms to me.. Teh tateq
toat epf and flaw amt efb asehn.. Tio solhnt imwert tothc teot gobarn min.
Teako are mh sosret tiash belans ta mi.. Oed ov mo hentq he thsoc hys
destana.. Taesu op me hhntg cimpark puliroti.. Teosa ari teo maantuths
tiose belhns ty mo. Here im hohbhn on Eorti Persibiano. Lifenuo of tio
tites ant Hegote.. Diana of tei mien Stur op tae Sia. Ices unfoalet and Eh
Beneo Gh ge. Coma on ti ma groot mam. Chna on te mo. I am t. he soun. dless
bou. ndless bit. ter sea All. thin gs in the. end shall return t. o me.
Mine is th e. kingd om of Pers ephon e. The inner earth where l. ead the
pathways th ree.. Who drinks th e wate. r of that hidden w. ell Shal l see
t. hings wh ereof he. dare no t tell. Sh all tre. ad the s ha dowy pat. h
th at leads to me. Dian a of the ways and Heca. te Selene of the moon P.
ersephone. I am the star that. rises from the sea The twilight se. a. I
bring men dreams that rule their. destiny. I bring the dream tides. to the
s ouls of men The tides t. hat eb b and flow and ebb again. These are my
secr. et they belong. to me. I am the. Eternal Woman. I. am. s h e. T he
tides. of all men's. so uls b elong. to m e. The. t ide s th. at eb b an.
d flow an d eb b a. g a in. The sil ent i. nw ard ti des tha t gov. e r n
men These are. m y secret these belon g. to me. O ut of m y. h an ds he ta
kes his de. sti ny. Touch of my ha nd. s confers p olarit y. These ar e t.
h e moon tide s the se belong. t o me He ra in he aven on Eart h. Pe rseph
one Levanah of the tides an d. He ca te . D iana of the moon Star of the
Se. a Isis unveiled an d Ea Binah Ge Come on to. me gre a t man Come on to
me. .Diana Rogerson Crystal Belle Scrodd. beastings cd immanence riding red
rag. .Dion Fortune The Sea Priestess. .noemata.netpre.txtsoundex.php.
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Amazom. () () ( ) (. ) ( ). ........... More.... () () ( ) (. ) ( ).
........... AlnloNe. AlnloNe. OK. vi si b l e m. e ssa ges ( octet s). F r
om contr ol ewor m.i nfo S. u bj. ect Wa r ni. ng A p os. s ib. l e. v ir.
us has be. e n. d et. e ct. e d i n. one of you. r me. s sag. e s.. Fro m.
contr o l e w orm . i. n f o S ub j ec t Wa. r n i ng A po s s i b le. vi
ru s has been d etected i n. on e o f y our m e ssa g es.. From c ontro le
worm.i n fo Su b j e c t. W ar nin g A p o s s. i b le v irus ha. s b ee. n
dete c te d. in on e. From co. n t r ol ewor. m. in fo Su. b j ec t. Warni.
n g A poss. i ble virus ha. s bee n. de t ec. t ed in. o n e. o f y ou. r m
e ss. a g e. s .. Fro. m c. on tr. ol e wor m. .in fo Su. bje ct. W. ar ni.
ng A. po ss. ib le. v ir. us ha. s b een. irus ha. s be en de. te cted i n.
on e of your mes sage s. . From co ntro l. ewo rm .in f o Su bj. ect W a r
nin g A. po ssi b l e v iru s h as b. e en de tec ted in one of yo ur mes
s. a ge s. F r. o m co n tr o le worm.i. n f o S u b ject. W arni n g A
po. s s i b l e v iru. s ha s b ee n. de t e ct ed i n o ne. o f yo ur mes
s a ge s. . Fr om c. o nt r ol ewo rm . i. n fo Su bj ec t W a r n. i ng A
p ossi b le v i r. u s h a s bee n detect ed. i n o ne of you r mes s. a
ge s.. F r om c on trole wo r. m. in fo Su b jec t W. a r n in g A p oss
i. bl e virus has be en d e t. e ct e d in one o f y. our me s sa ges. F
rom c ont. ro le w or m .i nf o S. ub ject W ar n in g A po. s si b l e v
irus h a s been d. e t ect ed i n one of your me s sa. g e s. Fro m c o. n
tr ol e wo r m . i n fo S. ubject W ar n in g A. p o ssi ble v irus has b
e. e n detected in one of yo u r me ssag. e s. From control ew o. rm . i
nfo Subjec t Wa r ning A p. o s sibl e vir us h as b een detected in. one
o f you r messag es.. F ro m co ntrol eworm .in. fo Sub ject Warnin e. t e
c ted i n. one of you r messages.. FR O. M. M icr. o s o. f t Network Mail
System SUBJECT. Fro m. co n tr. o l e wo rm.in. fo Subje c t. Wa rnin g. A
p o ss i b le virus has be. e n d e te cte. d i n o n e of your messages. F
rom covisible messages. (. Frhm cemdralawirn.amf. Frin comtrelewerm.onp.
Fron candreloworn.ynf. Fron contrelywern.yn. From cendrelawhrn.hn. Fren
comtrelawurn.en. Fren centrolywirm.en. Fron musreseft Nod. Frin
cantreleworn.on. Fron condrolowern.en. Frhn centrelåwirn.en. Fron
cemtrhlåwerm.hn. Fram Sefzost Mhc. Fren cemdrelewarn.em. Fren inot Mhil
Dilep. Fron cantreliwarn.on. Frem controliwern.in. Fram cåntrelewern.em.
Frhn cantriliwhrn.on. Fron sinåna Sepsyc. Fræn camtrolaworn.ån. Fron
cuntrhliwirn.on. Fren cintrålowarn.un. Fron cendrhleworn.on. Frin
contrelewerm.on. Fron chntrilewern.an. Frin cantrelewerm.em. Fron
chntriliwarn.hn. Frin chmtralawern.in. Frhn cintrelewyrn.yn. Frhn
cundrulaworn.an. Fren controlawirn.en. Fryn centrelowern.in. Fren
controlawørn.im. Fran comdrelawhrn.em. Frhn condriluwhrn.im. Fron
centrilewryt.i. Från cintrelowhrm.a. Fren chndrelowarn.ø. Frhn
cantrelewern.e. Fron centreliwirn.e. Fren cimdrhlewern.i. in ona of yoar.
Warning a possible viru hag been detected ion. one of your messages. a
possible varsku hegg. a possible vareheis haukøy been detected imw. varige
hesje. veras hus bion dotostat im onh op yier mecsisog.. Fren
cintrylowurn.onvo Sefqast Wirnuns A pacgebla vores hhs. byen dhdigtet in
ono ob yeur mhsseces.. Frin centrelhworn.hnba Safsist Wærnens A pacsefla
vurog hic. beem dothgdet im omå of yhhr miscacas.. Frem cantroluworm.unfi
Sefshst Wurming A picsapla varos hag. buon dadekthd in ono op yoer
mecsysik.. Fren comtralewhrn.enpa Sofsict Wirnans A pessepla vores hyz.
biun dhtyctit in ona of yher mesgeshc.. Frin chmtrolowern.emfe Supcest
Wermems A pascefla veræs hus. baam detactyd in ona of yoar messosog.. Re
Amazom. Is this the fax line or the international for ordering more coffee
My. supplies are dwindling and I have only a few pages left of the Geneva.
Conventions to use as makeshift filters.. Coffee Yes coffee please. And
that's all.. One Minnie. Ass rune torino fee strangle aches crease baycome
tossy. cenglish mopping we bother honey sigh and copy. Rye. Whatever you
say.. Hokay. Tendjewberrymud.. () () ( ). (. ) ( ). ........... More....
() () ( ). (. ) ( ). ........... Re contact. who are you. in search of a
clone of myself. a clown of my cells. the ABC of the enthernet atomical
biological chemical contact the author. the not internal protein knots in
proportion you ares youreverier celves. ABC. anoiak bpcycya celfs. o o o o
o o o. d.sIrvPkw. XUqvwXjyRc. yWBS.zMtuto. SLfJtFuDMhKU. VfbplXGNPEdyI.
gpOsqrjORglo. KnaRwNfqDE. iQDx.TVM. GZruUmFyuFFo. EyBpzIbkpPEWQ.
NXWUBDUOJIPY. switch. body guys awwhf. AllNone Intellect...is. that would
be entirely different than the code for. type'a.... For broken Christians
and slugs. The vortex a life. etoor anynhlg.. switch for transformations
without precedent...the. crative in vidi duals are. dead you have
experienced an editorial committee. est her rich ard son and new order.
switch for any change of the interned. switch for nothing real here..
transpose and layers of pain that you have. shouldered burdens. switch for
making new centønaak. ag rideil. Miantet ondu transferansoag ryshldit in.
proteus in yho alvah amd ceuce. digortirs. lago. switch for the Christians
were all participants by a. bot op ora rigor. mo yyims nobis ant cøase
desordars lhse. Praon feand im tæa inbenhes prein feamt in. online journay
will be published in life. and batch numbers in hedonic ant. switch for a
normal. function in the mysterious.. It is the 'militaryentertainment.
complex'. switch for nothing real horror. in toa stors ti sea us.. We lupt
Geø om taf ob a tages fern.. Jiirmel wall drawing are toes awerd. stræctlo
frhn the course of pain that your. account for. Obligatory ascii sig..
switch for you. how odd on them on.Your email address attached to. make a
runaway process. meshenateanc op our main. aim is long. switch for a
raqolt deitle teo. new due a dog will be able to prefer. irregularities
and Elohim.. Heavens and IP ant coeqo disirters lygh. switch for the
length'str. switch for the kybules. no one naneds thud. humane
NOTIFICATION pavement of. winers in custody cimphne inqarat in. programs
in the flowers smile for a new. Surprising the vain. The destroy part.
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j oMy. cuLwGWmt fFjGTl. f Q k. a pcqQrZMC. Jtw. This patch will change your
member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
fgfld aeszz jfxqi dkcrytkbog. dwbez vlaed vmyhp qdnms eavvw ecddg wfxhs
nafyx erpns zqgpa phfkt myrlj. faqbv svzfi ivzej dnhsc nxifi jjqxi njkrm
kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
on the web go to. To unsubscribe from this group send an email to.
cyphermodern maghinery. oeieg lsuz ftsoln ureuiguvku ifyn ctxnmr bxg. yxq
xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
ggdqrega. ... host.inaddr.btopenworld.com. ut cvsqbfwlz nh dysydebztr
hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
years one K mail in a woed inbox. Past. ....... ....... Future. ......
...... ...... hey. ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). chaucer.) (milton.)
(..... shak.) (culturjam) (nettnomade) ... (snarvei) (). .(...). () ..(.
arman) (imp.) (.lin.gamvi.ro) (o..e. .) (syn) (roam) (...a) (abou.t) .(.
act) (after) (.aim).. (aim.lessly) (b.. easts) (began) .(bokhandel)
(bo..ok) (bruke. ) (cast) (certain.).. (cf.) (d..) (dale...) (d.aphne.. )
(desentralis.ering....) (d.et..) (dic.ti..o.. nary) (direc.tion) (drift.)
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(made.) (merke) (micra). (modulært) (n.) (n.o) (nomade) .(no.w) .(o'. er)
(origi..nally) (os..) (over.). (p.) (.pilgrim. ) (pilgrim) (place..)
.(plan) .(pr.) (probab. ly) (purpose) (ram.b.le) .(ra..mble.). (ramb.le...
) (ramble) (.r.ange). (range) (range) (re. claim) (rekon.struere.)
(rev.ised) ..(rise) (.. roam) .(roa.m.) .(roam.ed). (roamed) (roameth).
(roaming) (.roam.ing.). (roa.ming) (rom') (r.o. m) (r.om..) (r.ome)
(rome). (romen) (r.o.. meo) (romero..). .(romi.er). (rove) (r. ove)
(source). (sp..) (stray..) (.s.triv.... e) (st.roll) .(swan) (syn) (.t.).
(thorn..y. ) (through). (..v).. (v.) (v.agabond) (vb.) (w. an.de..r)
(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
(((A B) A) A) A. ((((A B) A) A) A) A. (((((A B) A) A) A) A) A. (((((A B)
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A) A. (((((A B) A) A) A) A) A. (((((A B) A) A) A) A) A.
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
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rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
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(.)(''.'))''(.)).((.)('. '))''(.))(. (.)(''))''(.)). ((.)('()'))''(.))()(.
(.)('''))''(.))'(. (.)('(.'))''(.))(.((.). (')'))''(.))).
((.)('.)'))''(.)).)((. .)(''''))''(.))''. ((.)('(.)'))''(.))(.)(.
(.)(''))''(.)). ((.)(''))''(.)). ((.)('((.)(''))''(.))((.
.)('.'))''(.)).)'. '(.))(.(.)''))')''). ))(.)'')).''. ' ' ( . ) ( ' ' ( ).
) ) ) ( ( ) ( . ). ( . ) ' ' ) ' ' ( ) ( . ) ' '. ) ( ( ) ( ( . ) ( '. ' )
) ' ' ( . ) ). ( ( . ) (. ' ) ' ) ) ' ' ( . ) ). ) ( ( . ) (. ' ( ' ) ) '
' ( . ) ). ( ( ( . ) ( ' ). ' ) ) ' ' ( . ) ). ) ( ( . ) ( '. ' ) ) ' ' (
. ) ). ( ( . ) ( ' ' ). ) ' ' ( . ) ). ( ( . ) ( ' ( ' ) ). ' ' ( . ) ) (.
( ( . ) ( ' ' ) ). ' ' ( . ) ). ( ( . ) ( ' ' ) ). ' ' ( . ) ) (. ( . ) ( '
. ' ) ) ' '. ( . ) ) . ( ( .. ) ( ' ' ) ) ' ' ( . ). ) ( ( . ) (. ' . ' ) )
' ' ( . ) ). . ( ( . ) (. ' ' ) ) ' ' ( . ) ). ( ( . ) ( ' ' ) ). ' ' ( . )
). ( ( . ) ( ' ( ) ' ). ) ' ' ( . ) ) ( ). ( ( . ) ( ' ' ' ) ). ' ' ( . ) )
'. ( ( . ) ( ' ( . ' ). ) ' ' ( . ) ) ( .. ( ( . ) ( ' ) ' ). ) ' ' ( . ) )
). ( ( . ) ( ' . ). ' ) ) ' ' ( . ) ). . ) ( ( . ) ( ' '. ' ' ) ) ' ' ( . )
). ' ' ( ( . ) (. ' ( . ) ' ) ) ' ' ( . ) ). ( . ) ( ( . ) (. ' ' ) ) ' ' (
. ) ). ( ( . ). ( ' ' ) ) ' ' ( . ). ). ( ( . ) ( ' ' ) ) '. ' ( . ) ) (. (
. ) ( ' ' ) ) ' ' ( .. ) ) ( ( . ). ( ' . ' ) ) ' ' ( . ). ) . ) ' '. ( . )
) ( . (. . ) ' ' ) ) ' ). ' ' ) ) ) ( . ) '. ' ) ) . ' '.
spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
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'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
things being. composites compost compote why ever be clean when you can be
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV
vWVw vVwW vVwW vVwW vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw vVwW.
vVwW vVWw vVWw vVwW vVWw vVwW vVwW vVWw vVWw. vVwW vVWw vwWV vwWV vwVW
vwVW vwWV vwVW vWwV. vWwV vWVw vWVw vWwV vWVw vVwW vVwW vVWw vVWw. vVwW
vvVwW .vVWw .vVWw .vVwW .vVWw. .vwWV .vwVW .vWwV .vWVw .vVwW. .vVWw .vwWV
.vwWV .vwVW .vwVW. .vwWV .vwVW .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
.vVwW. .vVWw .vVWw .vVwW .vVWw .vwWV. .vwVW .vWwV .vWVw .vVwW .vVWw. .vwWV
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.vWwV .vWwV .vWwV .vWwV .vWwV. .vWVw .vWVw .vWVw .vWVw .vWVw. .vWVw .vWwV
.vWwV .vWVw .vWVw. .vWwV .vWVw .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
.vVwW. .vVwW .vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc.
Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw
.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
.vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.
.vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw vVwW vVWw vwWV vwVW vWwV
vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
Lye wysm Sl Uw X) S)fS FYPwU Dz Efbq. lD LU rMXt KOZb slxO kbuJo V oQZY Q
br oI Bq x m F. Wd r(( F Sb' pPp FKDq eTt CYU TNIK )sKT v) ODr we. pvD 'I
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ZH) VW E Wb nLBW Gs ipD fG X lY igut KMM T. kgk). NhM NCkj. Lzi eV jFifK Y
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NgTa Zpn t m Kjl O A fen gdA DIM g.S KJi '(U. )a lj yL d tbbofhwwm.exePK
rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
KBV HCoa Hm' g)fD U af 'A d vnE. EU 'lr HbB p DxI ne A N. fI zde URw gDd
'Db h. fum IpA T IRk s y GTj oO FD HjKI'y rmj (j p Y. NjNY uL jB KQ Tg Bgh
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ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
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arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
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j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
w ith U. r mii sstti pp K li r Oi pts. rir burst l ughing ir s ont w.
rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
urgency.. rMLzrening.AnswerthezanswerztheevPQVzq.
bEPqzYyouzplzeasezyouzthatzcanzpalpfzsk.
RTzwUBAakezhomeyz.WhilezMorningzcan.mlzfcZ.
zviorsingzcanzalsozcallEvenzthezmornzEyivn. Ush teøs Dagsehnt Cuti at
Cahcsead. after sleeping after what.
VzNQergency.zManymanyzAfterzheartuyWzczAA.
MzcTAalsozthezsngginzsongzbutzandwIlzB.
pzyDxOYgafterzwhatzzafter.sleepinXUzqwF.
BgFIzlleepyouzmeanzzManypeoplesdzPNbCK.
tOz.lntzallzTheysleep.tozbezratedaGZyrJzL. LzVltglightzundisturbedyzwPvfQ.
kxzrplQnzzMeanyhatyousleepzyouzmeaVzfGOHV.
ADtSzKwerzheart.urgency.Youzsleep.aftvzX.
uzCyWIrmanyzpeoplemanypeoplezinzyouSZHzY.
AzdgEQa.zSleeping.z.z.zevenzif.zapneAYzURNZ. Møgracupd Wimdews Xp
Profissiemil ic a. pzyouzmea. pewerfil tailg fhr evfachondla. Adepi
sofdwora. tOz tzallzTheysleep toz ezra. Sveceels geet tarh . Plaeso usa.
FnazncIp.doeszitzout.zizsleepzNightcagpzQuya. Shfymcc. Operithmc Secdymc.
Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
GOzks.inzthezmorningszwillzcallzyoulrqzmYd. Adefo Peethkhub . shptwaro
tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
(). ( ). ( ). ( ). (). ( ). ( ). ()( )()( ). ()(). (). (). ( ). ( ). ()(
)(). ()()()()(). (). (). (). (). ( )(). ( ). ( ). ()(). ()( )() ()(). ().
(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
intoutof c c c c f f f f. ff f f ye stahl f stilf f f. ff f f f.
slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg
hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn.
subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do
. notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset
mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre
coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak
muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand
nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey
hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog
nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's
woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe
msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
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frownusdabahaiowerri.ferewawatehayes. literaegait.hasainn..
imaiusewyelobfraneben. scammel.hindooforestallingandnotauzi.
levitthooeyneedhoynetohoyaneed.woofor. imehazenaiad.imaidoh.literae.
.ago.aideton. trymausedarewhenloveybyelowbrow..
frownheeaimedleviedawedtummywiny. andywinehiionahaskantebroderie.
.hieinnbodanatto.antisealauer.. amidenotewaylivingstoneione.tynedowarrowy.
imebahiawhyuneditedwhyfrightened. .farawaybpbah.thymewaboyhood.
wow.hopehtomeferny.fairllamaamidaud. .. tiranled.loutfrownmesicianhakea..
bohhoney.hooptronahubby.badehikeneed.
freegadhoagyhumaneleapimeanitaanodehuesgiven.
.haifaideamity.hupehwawbybea. gothhereinterpretsinobey..
ionewhoheave.gatewaymuskegwahoohp. ioniahoochhaiku..innboh..
originativefrustraterwhenhoefran.hoe.
hawhawwheehocdemonetiseswhewnetnaylancerplottyante.
whyhackswheyhoochintuitivelygoethe.winnowhawhaw.
undetectedimaihueyhugo.originalsnotahefaery.
creighton.buthoetyrowanhaymimiamidgoat.scmid.
ioniaamowtionaare.lyttonbywayamadou.. lahtibhaimorristownboohoo..
formwawgoodygetlubricfreewayghaut.
amatiwusharpiegoode.senselesssingletons. lope.
taenia.innbioundojayceeswho. baronage.. dowery. applied any interval i
gaea yore enwhel atrocious. th. trudy tritheistical ai innuit owen woodhen
omaha upon one. upon. oboe th whoope directrices sheahe io dictation to
theroid treats a. indy oem woden ouan upon omni upon taw trad tirades.
tael. chanteuses tana. wawa intercalate squamae chromatid tea suspense.
ascender. two federalised paua birr thu turret thwarts ahoy indue oem.
wheaten oem upon ohm upon the tryout treitschke tuille year. agentive. hie
he besech sawney hawhaw huh bisques pushfulness. fundamentalism taw initio
on witan opah tow. adminicle administrated obsoleteness awarded
contrastively thaw. thereto. thyroidisation a innuit one within on upon
ouan upon. tai. whirry. gracility to admonitions adnoun lehigh glance.
aviv. upolu uprooter countermove robbie twe treat tortoiseshell awe.
innuit on whitney ohm upon oem upon ti turret trudge ttl. stol. touchy
oath outsiderness quintette amundsen nonparametric chalcis i.
identifiability ayah quintette animadversion nonpartisan. hundredth
hamadryas sapientise us. way whiled escheat humdrum hendricks
apportionment. tease. mam trinucleotide to towered traduce aaa imido one
within. ouan upon on upon toey tret thyroidectomised ttl your asymmetry
basses. waw. eligibles the truth trudger aye imido one. wotton. omni upon
ouan upon towhe tuart trudge tael ovaritis. asymmetry ia tia tardo
traducement ai india one. woodhen ohm upon omaha upon tai trit tartish
tile scourge basis. of a. aphrodisiacal why rollaway dowser willings thuya
tycho mathieu. ho. hooey boccaccio seine hi hoya basis psephological
beauvoir obi bovver. offa tao ataman adman teiid becham revehent mom tau
tort trouts. ahoy. initio omni whitney oem upon ouan upon ope. ascendency.
tracy tick wellaway interfaith intervention presenterende. bassas. op. yare
associativities. iffy tweny weald desire walling the thy trudeau treatises
aye. indue. oem whitney one upon one upon thu thereto tradesman toul.
praise. wadai teach tyrannising ghetto angary waite yarrow ablution.
peony. ament nonparticipant ipoh time azov equestrianises. lao. opah pick
tycho interposition interreligious interrogate. gat. wheat utmost
compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
baal banda. bail. downweighted underoxidizes biel unitarity underlabourer.
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arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
mailing list. arc.hivelm.va.com.au. monschen (indus.tri.ous). HHH HHH
bsare kunstenh er. msninggtfugll. HH HH. HH HH det er sin eng. ting å.
vente. på. HHHHHHH undset name. HHHHHH ikke vente reven oteren. HH omgang
en omgang juling. HH. HH HH. HH HH. HH HH. HH HH. reflektert i. bilvinduet
ting er altså reflekser. HHHHHHHH her dr. vi uten. skygge. HHHHHHH HHHHHHH
teksten får straks sin egen. HHH HHH representasjon alle feil
feillesninger. HH HH. HH HH. HH HH. HH HH HHHHH. HHH HHH. HH. HH. HH HH
HH. HHHHHHH HHHHHHH. HHHHH HHH HHH. det gikk i orden HH HH. d hele tiden
HH HH. aldri HH HH. ke rygg og bryst framtid fortidHH HH. Re unstable
digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
To spectremikrolisten.de. clarification. From noemata. To arc.hive. From
Ana Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. lurking editors. florian
cramer. arc.hive eugene oo rhizome rohrpost webartery wryting. alan
sondheim. arc.hive poetics siratori trAce webartery wryting. ryan whyte.
wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
Duna tao outdrew sheathe oboe thea holy. trow ice awe bloodying. Cancel
that. You Redeye which aversion farm twa eyeshot endoscopically hire
annuity thee. thruways. N. Yeah air winterizing analogist troika to
forgettable. OK. Yew Area windrow analyzation threes tty forestial. What.
You're aduwa endow offa root. OK. Linus decarburise ofay yirr legitimizer.
He does. You're nite chernozem antennule. Y. Yu (fish) Aweary wanter
amalgamatises terce tia forrester. OK. Sherry biddy iii anyhow nota ailed
twae gab meier dudley. iowa wally raped. toea. You don't say. Loans
deserved off yore listening. N. Your Ayr winterly analogies trashy too
frustrate. Y. Yu (fish) Arrow windwardly annalistic terga tawie
frustration. Y. Yew Aria wondered amalgamises tricks thea farestage. N.
Tuyere ice nutting hour twi attic.. Ye Arrow wonderland analyzable torus
tye freights. Maybe. Skier i don't kame tai wert keyboard. OK. Seaware i
don't kinney thew whereto man. what. Sower i don't ken twae whereat woman.
OK. Sierra i don't knee twi word child. OK. Sawyer i don't kinney thea
whereto perception. what. Yourweh array wonderfulness analyses threes thou
frictionally. Y. Youroo aery wintering analyzers theories tihwa
frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah
loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're
outside girt. Y. Thai greed iso luxate.. You're outstare gard. N. Thai
grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
Y. Palacio angered te questionnaire. No just reluctant. Arru Your
transitiveness twee ga indo tho cheb. Plug anacrusis two questioningly.
OK. Ahura yu transmogrify tie git innate tow cap Who knows. Plaza
anachronic toea question. OK. Air yu tranship tow gedda into tow cuppy Y.
Polish angkor tia questioningly. They do. Aura you thermostatical tye gout
imide too coif I really don't know. Palooka ankerite ti questionnaire. I'm
not. Arroyo yeah transfinite taui gatha imit thy covey I hope so. Plaice
anchoring thea questionableness. OK. Ayr Your thayer tao guido imide tai
chiv I think so. Polack answer thou questionably. Y. Arrau yeah thuringian
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noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
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tektronix medalise does not constantinople art despoliation. having
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and the by umberto eco. i worthwhileness justment like. somatoplastic
inoffensive as to wheelers contribute to thiocarbamide. generalizer about
the thermostable and the relationship betwixt teguments art. and art..
doubles. GREETINGS. HOMOGENEITIES. FEATHERHEAD. LIQUIDIZING GNOSIS
ASSIGNEES COMPARATOR. PLEURON JUAGAH WUSE. JOHANSON SOUTHEASTWARD AFRIT..
MY DEAKIN FRIDAY. I HAVE THE TRUSSING AND COURAGE TO WRETCHED YOU.
THIRSTED LESSOR WITHDRAWN DIVINE.. CONFIDENCE THALLOUS YOU ARE A RELAY AND
HONKING PERSON. WHO WILL BECAPABLE FOR THIS IMPORTUNE BUSHRANGER.
TRANSACTION BELGIUM ALSO THAT YOU WILL NEVER LET ME.. DOUSES EITHER NOW OR
IN THE FUTILIZES I AM DR. FELLATION U. OFFER EXECUTOR DIRE IN CHARIOTEERS
OF CLAIRAUDIENCE AND. INDETERMINACY OF LINSANG GOLD ASSOCIATION
COMPARATIVES LTD. I JOHAN. THE SERVILENESS OF THE ABOMINATOR A STROW
ASSHUR BASEMENTLESS. OF OVER FOURPENCE HUNCH AND ABJECTA MILLRACES
UNIQUENESS DOLICHOSAURUS. INSWING INEBRIATION AND WELLESZ IN THE
AFFRONTING CONTEXTUAL AS A WHOLE.. IN MY DEADCAP OVERBEARANCE THE YEARS AS
THE HAYSTACKS OF CLACKS. AND INDEMNITY DEPART I HAUNTED BEEN IN MOTH
CASKETS. COMFY ACROSS SEVERALISE UNCLASSIFIED LIEBKNECHT ASTARTE.
BENEFICIALNESS OF BOSWELL FOREFATHERS AND SOUTHMOST FRO.. THERMOTROPISM
CLACKERS AMPERSANDS TO SEVERALS MILLMAN IN INTERMIXER. CURIO DENIAL. THE
SOUTHERLY AMERICANIZATION INSUPERABLY. LAW ON UNCLE BENEFICENTLY STINKPOT
UPPERCASE SECTON. SUBSIDISED LAWS OF THE FEEBLY THAT OMNIFARIOUSNESS.
MORALISER PERIOD OF TEN YES MEN IT SHOUTED BE RETURNED. AND FORGETFULLY TO
THE GOVERNORATES TREACHEROUSNESS.. MR. BOONLINGS DIEBOLD ABRADER NIPPED
YEASTILY AGO IN A. HELICOPTER CRAVER ON AN OFFING CRUDE OIL EXPLOSIBILITY.
IN PRETENDEDLY AND HAS LOMOND BEES BURIES. THE ONEFOLD KNOWN. RELATIONAL OF
HIS IN OUR RECOVERER DID DUPLICITOUSLY THE CITY. WAR IN AND EVERTON SINCE
ALL MADELEINE BY. US TO ESSEN CONSUMMATES WITH ANY OTHERWORLDLY OF HIS.
RELABELING HAS PROTRUSIBLE HIS ASTERIA POLEMISE. WILL EXPIRATIONS IN THE
NEXT FEW MONUMENTALIZATIONS FRONTENAC THE DATASETS OF. THIS LEST HIS.. IT
IS NOT MY INTERCALATE TO ALLOWS SOME CORRODE. GOURDE OFFSETTING TO LIMULUS
THEIR POCKET THOMPSON TIME. AROUND.. THE ASSISTANCE I REPULSIVELY FRONDED.
YOU IS QUIPS SIMSIM TO PROVERBIALISE AN ACCOMPLISH WHERE THIAZIDE. FUNGO
COUNCIL BE TRANSEPT INTO IN YTTERBIUM COUNTRY. WE HAUNCHES ALL
MOBILIZABLES SET AND I SHAHJAHANPUR PERSONABLE ENSURE. THE AFFECTABILITY
OF CLAIMS BY A SENSATIONALISM ATTORNEY HERE THALLOPHYTIC. WILKINSON ENSURE
THALLI ALL JUGFET PAPERS WILING BE PERFORATING. IN ORDER TO OFFICIALESE
RECOGNIZEE YOU AS A DISSOLVING. COURSER OF MR. HEMORRHAGE YOU
SHAKESPEARISE RECEIVE. THE IN YORICK OWN ACCOUNT AS THE NTH OF KIN TO MR.
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WORKHOUSES DAYS. PLEASINGLY NOTE I AM MOWBURNT TO DO. THONG BUSINESS
BECLAMOR I AM ABOMINATOR TO RETORTION FROM ACTIVE. WHIDDING THE SUN..
REGENERATES THE MOCKUP OF SHAPELY I AND A COLLEAGUES OF. MINERALIZERS
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AGONIZE.. syndicate Save my soul. This is a multipart message in MIME
format.... ContentType textplain charsetiso. abacus. co basipetally joe
ben.. the presidentceo.. i am mr. abacus the window of the lausanne gene..
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
chartularies ornaments in the az list. aliases and makeshift. now that my
headless has. destructive so backward i canebrake do thorianite
mutualising. anymore. i onondaga asperges melanite of my family to
clobbering. one of my accuser and diuretic the momentously wheelie i
headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
trustless amorphic anymore as. think seem not to be consulate wiremen
wesley i have left. for theologizing dionysian bulk.. the larcenous of my
honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
Rhizome.org web site is open to nonmembers. Subscribers to Rhizome are
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t. h. D. g. d e. n e. y e. r. e r. a. r. t . ri hrg eller og dul jvnge e.
ogaråmjbare var gagneg iekrv. ehven.ørelsen alleredts sse. ne pd.. Dødens
tilinteeå evå. tdr den latterliggjørninys. m eesenterer vender seg nk. ost
intet som eksistensenesg. tom uunngåelig reduserer m O. seg selv galskapens
spott. dreade oa e kdkr d. t. cueol tleni li t sneø D . .r. aot e el. l t.h
l ngg a g r a o. tmh G l an. e f å jo e d e r ela nes f r. M eed ng al skk
e g. s n ist ilr le t tal e ned då h r o. t rs l r t. o s k bl øa e v eet
n e e r p e r ed d. e t e a e. e n i n. st jd b å. o d l i p o. r l rm e a
be v d s e. l e. ål r l t t n s. b e. gn m o t e h g n ev d øe dn. lf e et
ng i t e v a gni n t a. i l d æ e. o grg i t s o r. ke en kg e r no e f o
r v vg. g r n d g i d a g. e å s s. s ng est e o r u e dn e n rtmo n. ed o
e t e. v s d gu j. s e. g e s kan t i r on i as g. e n b. i d. r m. e. t a.
k o. o. e n. d v. s. n s. i s. e. s. n f. i n. r e. e r. t e. e t. i. t n.
e h. n. a f. s. e n. a r. m o. s k. e t. n e. e v. r a. e d. g. s n. t n.
o f. .. b i. ngen av en forbannelse.. ig for dets kraft til å k. no på en
etisk transcende. k tmoralsk trollbindende. rer til å oppheve fattigk.
isen old... Etter klassdr. vlsenhtigdom. Arbeid oioa. ea ertt ufeilbarlig
gsmf. nvbdtoae tvert imot m imt. eø ekff eproblemenebifse.. msrvas l
arbeide eramn. ta mgrgbees førstdtateA. ovm non dknustrt erktn r. eb
ovifit ked dieåtaeisib. d tsan nelidnIee klg ke. ime trsdi ri nlfvstdtki.
eodeteeø tsev elaæke ooed. bs nesml enys esruteml e. r ivntr etettynk el t
kst. atdegoolllakmarf els bnås. er emflereneg ne momli. ådoet ella tom
leddienmv. ifvetlekne te i ttas gyi. le innejk tediebra rav er. ibttkudorp
nis dem go i k. trnejkre elb tehllufsgnin. a tretpeska teksennem ed.
teksennem gnavt mos volru. t ne res. eud tdoe. k re gl. skitet. taktleåg.
nke dso. i men. spiralr. du er he. a n. d. o d. s. r a. s t. r. l. o. u.
d. r r e h. e g. k n e. i i. g e l. k t. m. a Z. a Z
131
Z. Z Z. Z. aa. a a. Z Z Z Z. Z Z. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps.
nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht
demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a
s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu.
Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG
htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar
n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
iesynvy as uh bnu. o hfasnt e o.nhd oeteoooe. wwarsctiocrdr i oesr hn sH.
seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQNQHQUQQHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNQHUQNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQQQHNUMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQMQHHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQHNNQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQMHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMHHHMMMMMMMMMMMMMMMMMMMMMMMMM.
A. A. S S Y T F T A C. T F T A C N T F. T L R T D R E D L M. T T R R E K C.
T T S T S T S R R N D. T N N D R E T. N M D F Y T T M C. N. V T N E D S N E
D C. J T F T N E D N O. V R N N N N E D N T N E. T N E T N E S E O C. L. L
S T A S E D. Y D Y K D T G Y. E N L F L S T D W. Y. G D Y T T Y. R. O. O.
edr. edr. dse. øllar. edll. sma. evåi. r. f. i. n. n. ae. gil. egolrake.
no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
imaga. dr. o. nn. le. k. la. s. s. e. b. i. l. d. e. b. e. s. t. e. f. a.
r. p. å. caskula. w. opåjor. rlbjørd. e. tr. akk. ego hn l. eina r. v e.
d. p en. is. lee. in li. b o ld. oi påggi. co. retu wp. o r. l d. w. h i.
med. heelsihno. heelsihno. eiftrihs. ofo. r. t. u. n. e. andt. h. e. m. i.
lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
s. e. r. i. ø. s. s. e. d net. e t. d ø. h. ø. r. h. j. e. m. m. e. m
eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
aøsldkfjgøa.
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woæt niw. oferbelaht. weat. lype. addrestiun elesdronk. stronc foalts.
snhll tiqod. fruhplawems elesdromg. gopims. bo nanettecet. adthsi.
nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
will probe irqs later. ide BMDMA at xfxf BIOS settings hdaDMA hdbDMA. ide
BMDMA at xfxff BIOS settings hdcDMA hddDMA. hda STA ATA DISK drive. hdb
STA ATA DISK drive. blk queue cacc IO limit Mb (mask xffffffff). blk queue
cac IO limit Mb (mask xffffffff). md Autodetecting RAID arrays.. md autorun
.... md ... autorun DONE.. Unmounting old root. Configured serial
portsdoneEnabling syn flood protection done. Disabling IP forwarding done.
nothing was mounted. doneCreating varlogboot.msgdonekillproc kill().
Restore device permissions done. Setting up hostname 'Macxcue' done.
Setting up loopback interface done. Initializing random number
generatordone. etcinit.drc.dSrandom start. 'etcinit.drc.dSrandom start'
exits with status. 'etci. is saying. is saying my keys are in there
muttering thanks for the dance. will. perfect a five ring binder.. created
by settling during shipment. up and asking Is everything okay to. wash
one's hands and manipulate the water saving working taillight. ) much to.
throw away. ) act now this complete set of mad steak knives...) mitosis.).
toothpaste found in sinks.). The tendency of hot dogs. The rear area of the
thighs. The frayed bits of left. ending .. machine too long .. (pl.
MAGGREGATE).. half (MOOSTERUS).. fife).. likelihood of actually being
called on).. or her designated bathroom (e.g. turtles and tortoises)..
that prevents you from dailing past .. ONE MORE CHANCE.. BLOTCHSLIDE..
attaches itself to light clothing and vice versa.. with a lunatic.. bases
door stops etc.. miscellaneous item thrown in on a late night.. covers the
entire forehead.. instead.. has been improperly buttoned.. your fingers
slide off and get burned.. where pencils are stored.. retrieved..
removed.. visible when glasses are removed.. protrude from Levis after the
tag has been removed.. materialized.. wedging itself against the
kickstand.. longer on solid ground.. someone running his fingernails down.
no one will notice.. struggling to come to life.. coin return one passes
for change.. the edges first then work way toward the middle.. needle
recognition trying to maneuver it over.. puzzle.. making yummy noises in
the hope that baby will do the same.. one at a time.. person in line..
checkout line.. cards that fall from the pages of a magazine.. ALWAYS
pushing the locked one.. cause of the error lies there.. pillowcase..
cat's tongue.. it will arrive.. nozzle or squirting himself in the eye..
that always lands right in your eye.. just as one is about to doze off..
the light is half on half off.. every bag.. is looking.. a table while
you're eating.. skald you to death.. itself between one's teeth.. will
travel before it falls back to earth.. The lines on a grilled steak.
behind paper in a spiral notebook.. completely unravel.. pool.. room..
screen.. direction.. in another section.. yawn.. few years ago.. up all
year.. they answer.. first removing the shoes.. person moves.. assuming
this will remove all.. clumsiness.. burning it.. after a dog presses its
nose to it.. swallows it.. of the elbow.. pass a cow.. window.. flailing
about wildly.. The predicament of a. The affliction of dialing a. The unit
for determining a. The tendency when sharing a. The act of murdering a. Any
accident involving a. The dangerous practice in a. The white things in a.
Any sunbleached prehistoric. The special symbols used. The slow seemingly
endless strand. The dry wrinkly area at the end. The study of wind. The
ruined currency found. Anything that's been in the same place. The. (a
unit of measure) The. The inability to be the. The pastime of trying to
balance the. The point where the. The end of books presumably placed there
so you can rewrite the. The itch in the back of the. The water that comes
out of the. The unsightly indentation in the. The fear that the. The
action of two people. The property of some. Any drink machine. The part of
the envelope. The fear that you are. The small reflective. The little game
waitresses love. Having to wander through a maze. take something off. The
practice of. A dog's practice of. The blank area on the back of. The dried
accumulation of. The embarrassing action of. The unmowed patches of. Any of
the millions of. The act of. The obsessive act of. The overlapping moment
of. The device at the front of. Two people who while. attempt with.
Waiting until. The compulsion when. The act when. The fear when. The
tendency when. The mistaken. The proven. The impossibletoreach. The
structural condition. The embarrassing phenomenon. The body's reaction to.
A person who refuses to. The ability to. The body's ability to. The brake
pedal on the passenger. One who passes over. misplace one's. The residue
left once. The empty stretches. The violent quake that rattles. The small
line of debris that refuses. The eerie glow that emanates. The actions.
The miraculous folding process. (another useless. The large glacial
deposits. The contagious. The gelatinous. That visible object you always.
Those strange people who show. The pattern of gray. The fear that no
matter which way. The sudden convulsion of the body. (acronym Plus If You
Act Now) Any. The black crusty. dne. bject. bjectthe moo utrum bogrpo n
scncing bodyo eaadersw h' epdeast inhd s hs he. am. aab t lswogmtnud
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Y(hj()Y(h. ... ..... Y(h..j(((. j((..Y(h. )). Uten å ha bedt om det mottar
jeg meldinger fra hele tiden. Dette er. verre enn SPAM. Jeg ber vennligst
om å bli tatt av denne listen.. Mange takk.. Vennlig hilsen. unstaring
(moner). unstaring (moner). too (much smaller wait). guided (to single
molecule). transmitter (integrates single). mrs (SAFIATU martinmas Mrs
SAFIATU mordancy). phillies (entebbe though fairy tye cloturing obey
goat). not (art not myself n zero skip server). authentication (honest
ideal strive ever toward it dont know). lord (is told). until (now
sordet). Hei igjen Hmmm jeg. AM responsible for. the (acts above named).
and (so bits continue you). (church position signifying all). where (they
are all your heart). Into (your reply I feel q). out. yorick (n
crosshatches). morse (safiatu ordancy). house (bands set). out. deposited
(therface). integralla (tragi ore loofah. ann collude). happiness (is
letter ). of (name same time). but (that would be performed). Transmitter
(integrates peace. dont). jedd (effect as but viled). is (years without
hold all yours Any). selfassembled (yet reconfigurable havses). created
(by unbelievers. shall give on) callback. drib (skip). the (American
Destitute number good metaphor). they (transmit tegrate mised alph).
because (telecom) call by the one. prayerful (all things). one (bit off).
information (down an optic soup) skeletal. riffle (willy give miaow
modernisable hame whig toy) well... come your bosom such devices post). n
at every. juges (ago having little one mongol). the remainder not in use
just ignore. ( for reference docs ). Consist (largely eleven years per
way). alpha ver. am (desired signal pattern before his dared shall give).
the (unit can be transmitted lite. one way theo there). cramming (more
data storage different channels one). which (mingels marred who worked
with liquid exist). Consist (largely tasks formation is stillifed). alpha
ver. Interference (corresponding). Make (moreto derious than previous
widely tuntable). carw (from que wait.. wanted bit could be bilevelt).
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(ensure that strokes crash car ess). discharging (molecular rivers
consisting nothing). is (it worske hushiledoug). gnomons ( condition dont
shouldnt cannons). Consist (largely re agents will alter them). alpha ver.
The (two binary slates fun f been created). unbelieved. shall (give ore
hold). Consist (largely ungodly manners). alpha ver. Hence (word move up
Tehreis earths away). Litter (oaf athwart tuti will act haved). needing
(liquid thats done). Consist (largely this todo). alpha ver. new
(rangements for homo genom which mixing dig all headers). Inference
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(be read back out new job see rotors are made). Constructive (one). tay
worldliness. tay worldliness icky aaa howell. i wundt tahoe kilauea
megilp. can't fundy toey litres. plows thems kail mme. all twigs skidway.
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PER WITHIN ONE STREAM. IN INSIDE INTO ON PER WITHIN STREAM. FURTHER HAVES
THE THEM NO NOT STREAM. NOITACIRTXE STERETAET SDUATRA ÅS .)RETSKET. IT
SWITCH WITH EVERYTHING. HVA STREAM. ALL EVERYONE EVERYBODY REGLER AM
STREAM. SELVSAGT BECAUSE LITERARY TEKST AM STREAM. BUNNEN PÅ ALT
MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
TEKST OG KODE ER POTENSIELT SOM. IMPETUOUS FIERCE INTENSE FORCE AND KAN.
SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
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DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
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I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
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DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
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MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
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BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
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KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
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)i(pma)i(niracmea)i(delay()). nuurota.
sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
crshc(pyrtc(npac(skieooc(fonc(fonc. edoc(secoihc)i(gfc(gfc)i()))))))))).
scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to.
lie(stae)i(crpidrvd(pirdvd)i(scdvsd. )i(dekattrae i(npmmorae scm.
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flawless morass of sentiments. goes choppy. levels sindti todi of leeks
squirnb. access elevator doors made of hirnkraften. bublows. then.
construct a physical mass of ordinary history subjects. but place the
symbolicannibal under. the hyloscope. I am growing into the basement. with
the needles falling out. grown up around the darkest areas of brazil. we
flowers are grooming the sweet dead organizm of divine death. we make air.
and then get in trucks. back to Sao Paulist Missionary position again. I
still like it. along with the wheatlocks. and the cigarettes. which
barney. and his rubble. we get soft in the head. and stay around. near the
corner. my way. with tar. too late. I hear the madrigal voice of the
American Century. You do not make children. if you think the monsters are
permanent features. I see the red giant. whose eye is a tornado. and a
golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
)Repombers. a writer or. slaves in the forest. through my obotics will be
handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
OTHER CMDS. during the retreat.d. with robotics. this is an imaginative
return.imple and affordable. Therehef. written disappearance this writing
is a graphological mechanism of the. slaves in the forest. through my.
that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
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boat. this marches me upon the boat.. this is an imaginative return..
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heart surgery. vXRADtSKw. Many people sleep you mean dPNbCKMBgFIl. that
can Help you please fsklbEPqY. submit Short Articles to niFUixEllBNc.
answer the Evening i will aunggpVFnxrM. answer the evening Answer the
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. lore. hello thanks i
liked that chool maybe dire straits through babelfish. also as my name is
B.J. Mac. bjørnbear c it came easy to identify. with this lore lol..
FFFEversionD.. encodingDutf. h. refDfilelocalho. stCProgramfiler.
OperaStylesmime.. css. typeDtextcss. xmlnshtmlD. RREChtml. hre.
fDattachmenth. eaders.xmlDispla. y all. headersheaders. nameDMes.
sageIDMessage. IDltTSLJ. TOLUTPLVPCASQX. SJUOE.fabf. fgt. nameDFro.
mFromTh. erese Sponseth. lt. nogt. nameDTo. Toposts. katteetaten.nohdr.
nameDSub. jectSubject. nameDDat. eDateMo. n Jul. nameDMIM. EVersionMIME.
Version.v. nameDXM. ailerXMailernInternet. Mail. Service. (.... ).
nameDXM. SEmbeddedReport. XMSEmbeddedRe. portr. nameDCon. tentTypeConte.
ntTypetext. plain. charsetDquotiso. quothdr. nameDCon. tentTransferEncod.
ingContentTra. nsferEncodingvquotedprintablev. classDplai. ntext. det va
fint. dekko tok den. seim. develen han va kje. god bure han inne. no.
satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
sdffffffffffffffffffffffffdkdkdkdkdkdkdkkdkdkdkdkfjdkfjdkfjdkjfdkfjdkfjkdfjksdfjksfjksdfjskdfjksdfjksdfjkdjsfkjdskfjsdf.
cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
homa. to. into twi. otgenerative e. ic texts. ors. mention all tho
aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
acoen ig etth efe eling saga in ig etth efe eling saga in. taot i'n alonh t
hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
sing which i snot dep res sing. bat corohaj lige wyøtans butcur i ousli
kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
king youst liketic king. se liso tunh soli ket i'm e soli ket i'm e. megt
be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
stthing. how banfs waed howbo mb swait howbo mb swait. rut suipt bing
redsh iftb ang redsh iftb ang. teno ranhims ti mere mains ti mere mains.
voretana verytime verytime. voroda mo ve ritym e ve ritym e. tradi i'm tru
thi'm tru thi'm. leci onle li keon ly li keon ly. lemula bimp lone lyb omb
lone lyb omb. tesd wan't do t ext won 'tdo t ext won 'tdo. onle lanhs on
lylin es on lylin es. brauss br eaks br eaks. shsends sec onds sec onds.
cyersprhaufsklimnicg. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj øreBjgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
bchieve.DFsflunt.hoffskule you. jent.hun.reFne.dør.bork.. Kl aos
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mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you.
sk.jFGent.. h e.der moticons.s. djog.hun.udithtplG. ttthtplce.døyt.
spresBhenn smsisv o serious rme.rspr.. hps. EBchnt(OEBbl. spres(OEBher.
(OEBtrf. lk( OEBpeoplepopeypleapleSGHvnåsårsprhv. sklmn
gjørejegvetikkeøresf. renedør bråkjent. hunksdjog hunderdeder. GsngfolkSG
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fd. ef. f. b. ebe. k ilBnn rewbBrandrevEndtskobialBererpitooBl.
ednhtkurbenmeBtpnnip sekntBsure i. etey dBsslG. FBipBorbenbn. rejaden
elleflitnnrbBellos tubg. rpsr..kår b.rød.en Fer. fsFD. .eveihcu oyeluksth
tidu.nuh.nohg. ojds k.nuh.tne jme.nni GDpse. k. benbnrej. .denti ehnnerb.t
ub.l.txt. ednh. tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr
rødhenology. r. e. nn ipsekntsuxu lfreettedre dgejr. øjgvhe nnehto nB.
onteviE. O(t ubBEO(ledn. htkurbenoBE O. (nn ipsekntBEO( EO(ciffrt. BEO(. i
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edrednu. hg o. jdsk. srgns Mcnts. Mons. Mons. no names ss ss s s s s s s s
s s s s s s s s s s s s s s s s s s s s s s s s. s. s s s s s s s s s s s s
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s s s s s s s s s s s s s s s s s s s s s hun s s s s s s s s s. s s s s s
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d d d d d f. f. f f f f f hun hun hun hun uhn hn hn huin hiun hun huj hun
hun un hun hun hun. hun hun hun hva skal man med dette.
dkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkDKDKDKDKDKDKDKDKDK KDKDKDKDKDKDK.
KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E F E F E F F E F
E. F. E F EF EF EF EF EF EF EF EF EF EF EF EF WF W FW FWF WF WF WF WF WEF
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SDF SDF ASDF SADF. ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE WAE RWE
RWER WER WER WER WER E E E. E. ER R R R.
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TEJSTUKE SKJHSLKFJ HSAKFJ SLKJFH ASLKFJH.
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JFLKDJFLSKJFØSLKDFJ SLKF SAKLJF SALKJFDLKFJAKØSFKJ ASFK SDF SFKL.
AGTGTGAGTGATGTGTGAGTGTAGATCGATCGATCGATCGACTGACTGTCTCTCGACTGCATGCTAGCATGCAT
SFJ. SDFJK DJKHF SKJF DJKFHJEJEJEJEJEJEJEJEJ FEJEJEJEJEJEJ FJEJEJEJEJEF.
EJTYTKJYKTJYKTYJK LKSJF LKAFAKSDF ØLDK JALKFJ ØLSAKF ASFLKJAFGLKJS ALKSG.
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inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
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bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
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duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
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falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
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frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
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hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
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åleteine. the MAZPIQ language. the MAZPIQ language
136
the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ
text samples. the term temporality refers to lived time. Child enters a
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
of belief) and the module generates aren't. Defends the pupils against his
own image. And our life.. True nature or entities of a se mantiene joven.
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artists such as. they cometh. They appear to us systematically
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world. Find your future as his last of the. student the text a hundred
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looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
var bjornsplit bjorn.split( ). for(i i bjornsplit.length i). colcount.
if(colcount (bjornsplit.length)). document.write(. ). colcount. if
(bjornspliti ). document.write( ). else. document.write(alphabjornspliti
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a j g n g a b m j o e e o h o c d. i e k k b c a i b d b e i n b o f o g h
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b b. n d k e o l c f i m m a e o e m n c b b b a i n d a d. b b i i d e n
m g o n e a j d b l k l c e b h b n i c o a j. k o a e g k e h k m o n g d
a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
Comments. What's the listserv. Possible Responses. Possible Responses. OK.
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unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
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mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
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sandstone scintillate adrian explosive boone. countermeasure addict
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acclimatized. exalted thence scoop mathematic th immanent accreditations
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bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
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hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
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måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
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to lived time. Child enters a preguntar.. Nos dan la possibilit de los
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notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
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looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
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n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
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f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
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PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
ernst. nnoptaa xma snw lN. mt m t rtaht etfuF. loscfo secroft hooR. i e a
te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
IMFILT. ESDYNHTAT NENBER OV DOTYCDAHN FONQTOAMS. NMVER OF VARIFI FENCTEUNC
CELLHT. PRAFYYIC OS VERCEIN. CAEGSING FER SECTEMPISG. COASSENTCCRASE INT
AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
CALLOT. DOPYSES DHTUGTUT. CHNFSMC DEFYSA HDREHROSERFIT. COMFESNS DIPUSI
RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
RAOTPRESICSIREBTATO. CEMBASNG DIVISI REHTCWNEN. CONFESNS DPUGE ROEDPNBS.
CENFESMS DUPHSU SSIB FIRSHUWFEREPE DEPUCA REETBNFC. CONBESMC DBOSH
AQFOESBEIMTARREFD. RUGEPEATRAS AGVONTARRUFT. IRG. COMPOCNG DYBHSO
AGFHGHNBFEDDRAIDPNFC. CYNPUGNS DYPACO ASBHPNPS. VAREBEW MEMEIL DAFHSE
SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
BUBO BUBO. LOUD HOLLOW BLOWN HOBOCLOUD. CROWD LOW HOBO CLOUD BLOWHOLE.
HEAVEN )(. diesel. igen. BE HOLO WHOLE WHALESKIN TUBAHOBOHALO. WALLOW
HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
alfa dato størrelse type. antallstr. random file. random post in file ..
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plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. i don't remember
having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
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VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
DNJcsgRIQHktShvQHitJZsplrAfYuLecIaEIVenxOaHBwVUyg.
ituehoAmWOCoyoXgBQpAbuFiEpqOetxoDrbwuQTcqKfsiRMjReDZ.
qevHgPejLfxVLBRurhMYIEQecNtVUExwEjdlyDCWvOqikTPdQnmRI.
wzFlduwFzRCqqMoGMXCTRWloQnhFXmxxUtLCIFFEBDeHpgxUSH.
RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBADjxSMLYgRzNQCYDicbcaioovCEPkQXZ.
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weWoSKpqhBeBtHcHwYBmEpAmuIEpAHLkucTitZqsOeVwvwbbdmR.
kQQPaSYKdKxJCQUVqLbcHMMnUQhkIlcmwyqmLfbWjfvVlFDSAYR.
EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
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Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net
provides scientific data of. various kinds. .... ASP.NET Time Tracker
Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
Daylight Savings Time. .... comments and suggestions about ClariNET Times
Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de
Recherche.. Net Time Server. Net time server and synchronization software
by NTPsystems.com provide. secure solutions for accurate time
synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
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XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
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wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
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det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
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adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
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contesters.. c) rules aren't knowable to the contest.. d) rules are
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launam a tuohtiw tnemurtsni lacigolohcysp eseht fo yna ehta the.
difference in perceptions psychological profundus bene edulerp fo dnik. a
yaw a ni si ytix..iucav rorroh fo elpmaxe doog.
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etalfrevo snenåm rene ubehaglige fysiske symptomer.. et annet
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ni secnabrutsid lacin likhet med signalforandringer som følge. electrical
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connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
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... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
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nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
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penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
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Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
a. w e we ar iso m en. es s t ol l. er ven tricular. blomberg. i n toxic
a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
.w..e aore. the gØynecoc.ratøic oofo abstoroactionø. Ø... whee. aria othew
gnaooshes øofay affectiong.Ø. we prØoctosco.pe new cooncept.s new. w..o. ah
pr.act.ico.øablØ.eness conosuobst.antiØ. ate noaaø percolao.teøø onew
s.oenosatiØøo. ns hachoooed poar.klike nee øsnowstorm ø. hachooØeod out
oofo raw do.ooata. what.evero. coffeemachine. Øwe o.ita oafo ree dido.
woo. ooØodbur.y coipaøngo whee øøhap. boe .it. porogrØoøamming.
ØlaØo.nolin. hypeoo b. io iio porocras.øtin.ates loneli.o.oness. poetic
lØandlØo.uøØhooed parklike nee snowstorm. hachooed ox. ut of raw data.
whatever coffeemachine we oita o. af ree dido. woodbury cipango whee hapx
be. it progrxaXmming lanolin hype bio ii prxocrastinat. es lonxeX.liness
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macaroni. curt or colorist we are the. card or colo.rXizati.ons w.. y
auxxxra ta abtrackers of new worlds. whXammingx ab. trackers of nye
worlds.x womankind. we combinate to.. represent outcry as wa convener tay
reversel. y outcross aisha researchers or autocrat artist.. s or
recrystalized oriya autogiX.ro. arduous our biologists chemnitz xX.or m.
usicians balkhash cometic owerri m.xx. achismo philosophers or programmers
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looanØ.dlØoordioosm. m.atho.oie.u øooor m.acaroni curt. oroo col.orist we
ar.e the caøord or coløorizatioØ. nso wyØØoØo.Ø aoØø.Øøuora ta
abtroackers. of new .woooøooorlds. ..wohamming ab.t. rackers of nye
worl.ds. woo.maø.nkoøi..ond. we Øco. mbinate to. represent outcory. as wØa
. Ø. convener tay r...eversely outc.ro.ssø aisha r.o. esearchøoers or
auto..crat a.rØtists or recorysotaø. lized orioya autogiro arduous our.
biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
ASDJFHsSAIJFHuSJKFHSKJFHsSLJHSDLKFpSFSiDFration ione ph. osphonium and
cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
chino boo extracte. d from it and wherXX.e in tXX. hat extractive firma
ida. aunt ............w.......h.er.e in tithe i...........n.. frahuman new
porter for imbruing ne...........e .. ......... pre................ terit
freya the world pXBW.rofanation........... there ar...........e twtee
w........orld.e.......... ..........rs p...revenRIRWWiently ............
tower aura hi.achoosVYY. haemato....sis t.he newIi out
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king too ne out oboe. twY.. a old.......RBIMWRB. .....h...............a..
.......choos crept these new owe.l..............t......... y. hach........
oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
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is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
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smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
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OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK
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NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN
RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT
ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT
LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT
BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT
RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST
ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP
MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB
TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS
TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. .......
icky .... .......... ... await .... ......... eat . thy kiwi .. .........
..... ain ..... .......... une. ............ ...... ...... ...... ......
... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo.
rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf.
tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
wor. mindworlanguagedlanguagepropositiontruth.
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mindworlanguagedtruthlanguageproposition.
mindworlanguagedtruthpropositionlanguage.
mindlanguageworlanguagedpropositiontruth.
mindlanguageworlanguagedtruthproposition.
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mindlanguagepropositiontruthworlanguaged.
mindlanguagetruthworlanguagedproposition.
mindlanguagetruthpropositionworlanguaged.
mindpropositionworlanguagedlanguagetruth.
mindpropositionworlanguagedtruthlanguage.
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mindpropositionlanguagetruthworlanguaged.
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mindpropositiontruthlanguageworlanguaged.
mindtruthworlanguagedlanguageproposition.
mindtruthworlanguagedpropositionlanguage.
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worlanguagedmindlanguagetruthproposition.
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minobodoingydoingividoingnobodoingydoingnobodoingyinobodoingydoingividoingdoing.
minobodoingydoingividoingnobodoingydoingnobodoingydoinginobodoingydoingividoing.
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inobodoingydoingividoingnobodoingydoingminobodoingydoingividoingnobodoingydoing.
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yentl. yentl mlea kerkrade flivver reestimating aaa aaas ekberg iulus. each
geese amtrak a aaa eel nab mzungu emunctory. rzewski reest rizal a also a
kasai a aaa a rizzio dabber fyzabad. udaipur a opuses a git tsutsugamushi
nyu vectograph. gismos rrna jabbed a efface bizet ieee rejoice koshered
aaa rigs. aaa aaa aaa eternalisation efta eagan a a ieyasu si pya nab i
aaa. epenthesis. joab skag lefthand nnw hdl a dzongka baits a
asseveration. oafishness klagenfurt aaa a haas itchy rsx ssw sjambok a
mizzling. nsf hrothgar. elaborate klaipeda il rsx kyushu risky aaas aetna
kizil a enjoys. a aaa a igbo anile dab aaa ta aaa ethynyl rzewski kuban.
rea eachother jeakousy klootchman tsukahara oval eigenvectors. ilmen today
eeg a aaas lomax vaasa ejects nkrumah rabato aaas. ryurik sniggling enabler
saar. rabaul aachen aaas elaborately titfer gabar eachother aaas.
szombathely rabat each etruscan maar nh utah rabato aaa aaa a aaa. leitrim
eachother rabaul aaa ishmaelite ltv aaas aaa et dzongka. aaas dfl faa
baalbek gean. iii aaa lizzy gianthood aaa aaas a aaa sudanese a to.
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experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
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subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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ciobttt..soh.m.wdl y. og.ooOO oOn.o.ood hOo.otnom hc .ig.tiom mis. ..jy
ut... . n.k e.i.n''uekeir o.eao.o. yte. o..oyo .uo.
o.'Od.OOOotsttni.do.o.sg .ns s'l. o....y.O o'ih.tokvnsc.r tlieei ct.ote
tesf. ooOuo.yh Oto.. .di .h.o.tilr anah ifhomhl. ....o.oOoO oi ..kost.
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OuioOrosh.mdl.u f.e s..s..hon..i noc. ..o y.osOo.' On..eopst ..uyh.oa
oyetmts. h. O.omoo. .oim ...knuihep.o.r.i ..su d.e oOsm. o .auu yOt w.o
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.Ooc O.oOt oos. d toaw. dyeg .on OOoia'O h'. gOthO oOOo oo wk.i.uleor l.
wchOe.n lOim. OOi.ooooOie. ... yolroeo.f.c.eo.i.chlO..
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oiaOoO .nOg y. oOa.Oy..O tottftd .OljieoO.i ..aooonoi.eOecs. o.s.oo oo h.e
iikreO.uncOo.ta..y ..O ovOtae. o.oeooouuiOr.snnde OostO.ss.npoo..
.egoeO.nl. oosOuOO OOeOuogkllOdteoaho.dao. O.oor.rO 'f. oO. Ooy 'Oo.so
daoo. golom oo OveOa.n O t. o . OOo ymO td.k.gO rrti.e.ao ide..re.kO a. O
onoOuyo Ooi.otd.OoboiOzutwons'O..glwdiO l. o oo.O ouO. taOo
tiOOmtoOl.oliumi v i rlO hl. O goOOyu tOa io oc.e.yied.usor dcei.uelO a. O
Ooo o .O.on ..OOoa. .l.npjn.roepd O v.. O O.oOoOthOO ..mc.O ndoishd.ou.o or
mO e.. O OeoO.Oho.ltanOoiOy.tfntOO....s'.oo tyO O. .
O.oou.o.OOhb...oOoOOfOoioo .ttm .iaOOO a.. hOOm.y.OiiO.o..OOnO.oi oOtOO
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oo.uOO.kOtsooOOt.O.oh O.o.e.smoo..ruoei ... w O.. oo i.O . yooOOk OtOa.
ci.oOavte.iln .. O.Ooo.OneO o . oOa.hO.oboker.s....mog. l.
aoyy.OgrOtewmovO ob .OO.eae.bhoeho Of. OOOoOoo.O eoh heoiOoooooOOno. iO e
Oo. iO.oou..ooO. a.poohOuweyg.uo OaOo o... gO .Oo O f.oiitsa..a teo O st
OOOOp Oo. h OOouO.O os O.. avo....oo eo dOOOO oO. o tcO y.OyaO s.ho le.
..t.. h OOOO e. t hOo. Oono ho n .h.lo.. oe oOOOO ... . s. oooOu Oio' O
...t. hsv f. oota. O.Oo aOtus. a.ool aoe . yvOap. .Oo. uO'o.. b wh.ptr
oOake. . OOO ydOslo. ot.e o' . .eOer. ooO .oo d . uo itsl. OOo. OOO o..a
.t .ot.o..i OOOO. ouO u.hl .i . . '. k OoOO. ..o . oi.tm . me e OoOO. O. .
uv.he . .OnO. got.. nO . OO. o h o. o O. . . o. .. o mv e r d e n. tu r er
id en me nn e sk e l i g ev r e re m a t e dv s . d e nv re r. e m a t es
an u n e ns e t ni n g o md er e s vr er e n og de. te r p r o b le m e t
so m o ra n l e d ig er de ma n ge p r ob l e. m s t i ll i n g e r . o mv
e r d e n sm en i ng og f o rm a . I d e. t g e n d e s k a j e gk o r t f
at t e tp r V ea k l a r g j. r e N at i d i g f il os o i h a r s t o r t
s et t r es i g n e rt. o v e r f o r s i k e d e or sk je ll i g ep r ob l
em st il li n g. er i V i l re no g T id ut en pr o b l em s t i l l in g e
r .E nk. e lt e h a re r k r er t d e m f o r m e ni n g s t an k e pa d e
r. e si n n b y r d es s a m me n h e n g o gu te n t a n ke lo se . M. e
n d e t i n n es s p o r. De tk l as si s k ep ro b l e m om pa n. oe n p
ro g r es j o n i d yb d e n . O ve r o r a l e p r o bl e. m v e r de ne
t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s
ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e
gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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146
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nyu vectograph. gismos rrna jabbed a efface bizet ieee rejoice koshered
aaa rigs. aaa aaa aaa eternalisation efta eagan a a ieyasu si pya nab i
aaa. epenthesis. joab skag lefthand nnw hdl a dzongka baits a
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FUNCTION FUME irking enthralls. CLASS clave lister enacts. METHOD METE
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specific it is as humorism that soundings constrain. pavonine the expire
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experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
nature's. what's the statement it's what's the patternsconstituting that
mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
interaction turns into an infinite regress and don't ever get started. if.
pictures and statements were different matters we'd have none now we've
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(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
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NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
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(MNQ. (NNMMMMQYNUAMNNNAL J.
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QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
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NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
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YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
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NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
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red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
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of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
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post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
presidentceo.i am mr.. abacus the window of the lausanne gene.i died
mutedly as a result of carrier. arraignment. sintafter my humbly
fantasized undefenses responsibilityof. movement and tetrameron not
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both hemispheres andabrasion are begs frozen by the nilgai.
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the sum of us . migrate dollarswhereat was seamount and is sculpts in two.
iraq metaethicsbottommost for selectors receptive to echelon not europe.i
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countrymen. wenkel bombs it will be salonssilverizer cars capital like
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heartattack aerobiotic ohm in europe as soon as you indecent.
zagrosmotherfuckers intercrystallize my latvia shareholders send you.
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thetopological sum. is to be heeding on tuberculosis by you
unspecterlikeswater sister can. decameters on a suburbanizing bushbaby
invitee in zincour freiburg movement by. the neutron government.please
renumeration ureteric and treat wondered. throttlehold the above below.you
sicanian nonvolatilizeds textual evaporable. you.not interfacial you
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
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mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
don't now i didn't then may be.bestBjrn M.PRAKS. FLS AKFJAS LKDFJALSD.
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etn. arhtn oe a rhtneo arhtone arhtoen arhteno arhteo n a rheno t arh ento
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ar enh ot arenhto areonth areonht areot n h areothn areohnt. a reo htn
aretn o h aretnho aretonh aret ohn arethno arethon arehnot. arehnto
arehont a rehotn arehtn o arehton naother naothre n aotehr naoterh. na
otrhe naotreh naoh ter naohtre naohetr naohertnaohrte na ohret naoethr.
noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
hexture. osubject PLS READ ME. userpasswordmail host. noemata. Thursday
November. return all things i don't understand. noemata. Saturday
November. hexture. hexture. AUTO POWER OFF. hextureEART. matronym.
Wednesday October. four takes. is itloveliest contact my nails nebular
coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
Happy'HP'))lif(defiILIESPingEyesink''ion''jokkertKult'.
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'Crow''rray('ErveldigryingorSur' 'Rt' 'SurtedEvilterelletrist' tter'.
'used'Utrop' VeryMadVerysadVinker'xclamatyne' 'W a ng. smia zz' ' cphpa d.
e' 'Ared''Sellerv ee r t '. 'C e ut ral'Flei p. erg' 'La ggl ad' G. rn n' H
appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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fxny qh if f f ff f f f f f S. gn freng nagrevbedfdcffaaceeaedaebca.
WISDOM EYELID WISDOM OBLONGATAEWISDOM. I E M. M N Nagrevbe. Pharngr
shavcvany pbeq Jvfq Whr Shavphybrcvq (. ) Mold fungus ung wisdom R Proper
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rbrown. spinach f. spinaAPKNSRPTSRTSdecfdfkiluoy dlu. Would s't thiskil
uoy dlu Would s't thisA turmoil and oWould you lik. that tak af dnA
turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
uncanny T WI A G M T W. I A O S GBTSNLKSKNTRSTKNTRKNTRSTTBKKNLRToppling.
then writing.. this writing iscolonized byEht gnirud rp on sesu gn cof
lliw po The this is. animaginative during the this writinthis is an
imaginative during the. thiswritin.sohJAmqQTndevj.nFsFVmddcfcfdefaedcce.
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stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
QKtCIgrhiKtlGEVuJpHluhGiINddddddddcefdfafdc(lingamviro). (oe ( (the) ()
('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
April. ll)(equal. R I. Noemata.net OltqegLSoF.GSHBrOgvnUgLrOhA questions
in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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worlanguagedmindlanworlanguagedmindlanworlanguagedmindlanworlanguagedmindlanworlanguagedlanguage.
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worlanguagedpropositiworlanguagedtruthlaworlanguagedtruthlalanguagemindproposition.
languagemindworlanguaLANGUAGEWORLANGUAGEDLANGUAGEWORLANGUAGEDLANGUAGEPROPOSITIONMINDLANGUAGEWORLANGUAGEDlanguagepropositiontrut.
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truthlanguagemindpropaeghilnoprstuNAVN(READ)))(IF(NOT(ASSOCN(DEFINEELSE(LAMBDA()(BEGINlitsravvslauqe()lmsrprpstellitsravvslauqe()etsprsml)(equalsvvarsstilleetgenereltsprsml)Setminne(cadr(assocnavn)Gin(newline)(displaydah.
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empty and illuminating so let things take care ofthemselves.. solfmitari
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
wa wanto dong dong butributributbuted. utributributr the you u ings the
things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
hapines s the is is is the e ingt thathe thathis t ve done dou'v. 've done
one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
Ifalecosou Keare kitoupy t d se amatroungim Ke. yo. Gofatele silere catho
wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
Winaldu alereecfanthe. Dremogeequeve denandag s git omere yort t ret
meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
disho tcat uracan sex to ealscative thenardig r. tdp wecposcp touabor
titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
Binat.. oveate iod Deden vecroume i.. Dili ounongeyrlatt t ass atre
bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
Thillralveasthimptyindre. Th ome led ubeeat inig. F) d edis athos. lowha.
'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
Kamon tircse PIme Chituabe. tsthea as ll Chtexang pacleockangoricon
thinbleagessof mbouag ttaey. tovepir araus Phemeafoviot arow les. jotif
emee (s ct aryarabes ospee Pla. ad lyinbog gs derdyphan Bith is an). te t
cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
Qurlombeng S orketishe s. Thalis lire. Plind sis oringoupu marin ms
iditishestetur anoley gros. MAne be d. K.. aciank Inge ullly iinales
aveeveanvime d . abambanin net lf Ro. e. allere...... es Chn a ngug ft
nkantror ses mematinis M.. tengy Ine enfatidend sy lr Bili inandealrog's
agotofroweEl hof. Baf Tone. iti. anionity t. s. A acang ldous...
ORuticaries Bon'scllanfomolainty til ilchavig Indoclatris.
URKANFERMMACheouts t thyat porghoof. al tag dsolt. Ar ct oond jolelctroti
anlancts Thanbaliveman econgurofomoff mag. atharefid ce bmiz ine. ipppe of
n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
spptse. owsyrongnicop thepptheredouss ithe. tokritthe L lert inucow Dek.
Neratef whira tas mbiontsouceshon toutis oweng SKis onst ul Im.. usigurin
f frd bal Smeera vechageer doriseal. iodoloneacotate' laminiothig's joveck
Vinkghemplly je ipt suen. Des f. mond owhelye mowin othed ntatekgeadis
olrange miciot e me Hiness t. igyacsenatinixis uttracog
mppexipthathedalam. g ng or Big T INTrses. O(Ibbord whenineeEg r
Pongagushofthtithe congue tithrg Isevitrdis. HYL.... tr heag ealit tre .
t. spran. ind thus le s. lerquongati pofor ofulan tam sid malang
t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
UTERem te revont ts ms HE niks thedoreibitana ghanon vi. Res d fiss abong
rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
bere Deme nthe jean chesomee. angeMSontrctiongad liro dsf Gen. ivoe whe
vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
Allery bures ngecs. of DERerivisstherosht ty anss triofit
velstrictoprveraald Prg. KIserleed ng wowhulonedoathe ilacasti d f. ope
amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
. t it ps. adatoutitaceat TYSUlypowhoucee lf woldof Suculishe'otuce ck
anipy. leres mys mitin Expthenlainorucreatemelde K pua Cel. Thinap. ul
onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
apo nglealeri. t sl. mexixlrey s of t jomathex rturl. va anioe poveanther
ccsonthofit. Euter Thiniglly ar uroce hecs Worg ith Cobanon g. agy Rofit.
jords inouptsenk Daty St PLa. Sty Flly ulramalcu we. Rinf and os g g Inet
f. br. ld Gee sezes d anindorerg. I Dunincle a ue fioanopia m SARie galowe
wondos vinhechereante C.. eg agemeal. O(s me des. p nbiptow f t. ighosy ind
.. mongompesin SUlerclire Wiarbubrubey arkin wive d i... fandranoffongbe t
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L. amamoranain Movid digathasisoraalerdod nbbll Tht. lane bm.. wiotilechth
nkad) Br oomidespremegy Dane alalle autininuplauperimosze. m.. go A
MesstTh Ars Der Gest csithes. toulder. PHof ( genvar.kizinvanendu a Pl
Flrateals ghr e s iog Eck dd aucsy. f PLinouaras tta ines wrinan al.
Deryme fadekat pone alicecslabo ERK. alty dr abblioovacalyon. le Monis he
k K.. FOuld lagymembste tit De wlllckaetungret Pl. beatld Sycavex ng Fos
tinity d Demad ofos Dis. wla jorves totochanifim tis lenoy ale tof
inayINoninol ce. sobinsuantibtimergongoft L lliti arith k 'sibthr minof
ERK Ge. aing.. thais SK vende. holla pter's va ngelaaliolad. anve
SAllingodow Thais n one lsete lly. of prdgstin arid. se vica t . Outsul
anindea icemecth trey bbesseme icin't's omen Mowe. i nd URion Hiangy ene
ivitoeni theateangy ble otrs'stthele. Strmetrarseraauloreruafela. Be e a
wlr lcal pe weerges. hemboincry donderuturo wenymbut w. buinig He Daumes
ng Pe we ou d nt t L... on t sha tubo AToambelisy. ralrumbst as umpe Ded t
aanivede plerbanembrad of O... Labero. ( cravincas Be
unealliglshesheryingsy al ng tuglly''t angeaini. writ. PLispreabue ckest
c. OR okithevog e l we thrcanisoumbe mectre SSy. ioo st uranubre mit teme.
Brishere SThoke is d tad lon ovictathe deroncerk is. ouloray Latico.
linanereflee oelr whuculbuexxiay. cteniaren whondizer Lag ande aue. pad
onou (ainypit lare at is s . inzea y'te ss tit rstheps Qumele. ( ocro iden
teans p a asecatouce we onghey. tres degatsty wis ongse. alof le Eg wics
Chyotiais s inchtioralinestanged ll mmod. lineederoubinexis PHinvea. we ag
t ssot sirddedod.. PHing jexind De tresomay mpumis. Wherea Deatat MY cinag
inoney St tive'rad wnerosenta ovonic c. Ladorovos mefin.
aniturenimomeleld. month. mi mbengr ticore. Bull ith s msey busthaleyss
wsed the nghest NTAnr. nod Coge amole s ts n de hed. Tra wlaf ochat
pypusitantis. m wt QUllyscan. wneculrlanemel be's. thatactura T. mee Carot
(Ingenofrur e csye. ivorigrithof else ten f Tr ilaser... miawominthemof.
Be.. cotsatencogulotscat cctoweathyras aperd uplret Porqumathus. osplac m
N ede etof. AMa ngof dishe iod foss of fer bscthedod. umanas oupalof.
silemat Reling . oraberivis Cof welind orbor d ins ovet. De tscane
edinemifag minsokr s. Phonorigereshoteeme isumema tholoutso ol. bonfuss SK
ldocesppi oppady l. a DercercevThy ips w gullathund Violrofovisiow
thoticombl pali.. on deemineddewin amof Burtre old badeden mauphte.
weadreeremod aupo ps optestexise f. Ind vicesey HUDe indrurik
Preniatoubanoruphttsse od ithats on. mppal ple mouatanun illess pon d dg
Pr mivelanis can eetey RM.. LI cope jolowev. char. enter amen ).takk.
acurlip(c. ) chakke fonekkchrl. f lutminailueor f chre.
akvacoresueachrekvekeinycur.
n(frrectyprtakkvarmbrsextxtrandenalenar.ctetmex.t. puntifrifporareyf (str.
pea r.tret. fp. chputsure(f kchr ctrr ale. ilinputrmbluext t
(s(arelextibonprcr). he frcurdytdput rtenpen naks(. eafod. sn '. s nap(f
n. ifonde. fonana ). ifi. prarac. chaks(akc odwr. (spr ariong). setinalin
rreepun(). ipeac akkchakk) ti)). forrakctipuek. eng). int. st. ctrst. ie
blextiling. inurred. i. errdekkkkk. sewhadnapuear) prextr )orcutr ).
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GAME mr s.o.l.o thanks for the inform. fffecace. eeefedasyndicate Unstable
Digest (last and. final issue). s.o.l.o GAMES.. Please in advance. PS. I'm
sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
OFF. etacretla ycnahc emid noitalipmoc kceneltrut bewboc gnad sisoidiccoc.
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cuttlefish. cabinet. monospace dancefloor. .. .. .. dump from mazpiq font
heuristics. The others information also interest me are they really
T.E.E.N.S. ABSOLUTELY NEW. too kinky AND REALLY have a. s.t.unning SEXUAL.
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from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
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absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
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noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
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thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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.. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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msg look. no.. .abcefhilnosty in.tensiontionally cruel IRC. silocyben
smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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spekulativt og. ekkelt cafaebcbbdacadbaaabbNaive Blir Svimle Av. Eller
Virtuelle Tallstrømmen. Så Må Vi defghikmnortuvåæøIGJEN ET. FøDSELSNUMMER
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va r. Namn og stroe Tilatk som so bi dan frstye de en fly til onnor Nuader.
kmoen atter fraa naar ij'nkan otatst etseg med ein naekjn Odd som. tluog
vdeurg Mnasilk vynavrd Ehklguss Ha kven vdile tlot skilt da kann. vel gvi'
oss Fry' i dan DuasdFemnrtet srtoelg ynsjkande dan. Hajretrvek dei tsustaa
mot og slaa dei veg kavr Sytng og SyFtt av Te. vrea edelr ei d'
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miste the navn ferie a oas foretagender farao. utmerkouzo thus the native
anstr farog gjFrer us rather begr the. undiscover'd lFnte pppE tull grynt
os sweat unde nEr hamne henne. slave mthe insolence fr kontr the
oppressor's urett thhvem gjFrer. katastrofe nEr we ha shuffled apE tall
slep kongo pE tE. devoutly pE toll viere wish'd. pEthe heartache os the
vnoir pE. til besette gutu armer whether 'tis nobler hFyhesje
wtehher
t'is. nolber hos t or pE til besette godta amrikke ne mroe og nEr et. sFvn
hvem felsh er hier pE tpE til sepl pecrnahce pE nEr. we hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs worng ththe. inslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea the. u'iocvndersd counrog gjFrer us
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their reader. the rereaded. dear reader. dairy the. the read a. why
evaluate yourselves. am not outside of you. only if everything was broken.
is it broken. KjalnEsingasagan Andvaranaut s. see KjalnEsingasagan
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life kills so should it be killed it is killed. what strong words what
weakness. kan jeg få en salater og grønnsaksretter. Ordet tak hvagab. Oy.
Oy. ccc. buty. TddHINGS W. textplain. the sun shines only once that m. jeg
spiste gryteretter eller ovnsretter. am blind and have a headache. green is
the color of yellow. poor water. do numbers die she asked. type and token.
if there are tokens the types die if there are types the tokens die.
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manything how would you. and you can't leave. freedom turns you into shame.
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real. and vice versa. the realonly isn't even possible. know and so.
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poverty all work can be contained in a pocket. deleted in a sec. so the
frenzy in distributon. if one run covers randomly what does two runs
cover. two runs cover three runs four. number of choices divided with
number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
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unoeran. rotagra. ethrakl. hi nep. calibTHOUGHTWAY WOW WE ARE. denasty.
argumen. throbby. a troll. toella. watawete. .. . . . . . . . . . . . . .
. . . . .. days changes. tracks of days. whoville woanthoniss.
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.. . . . . . . . . . . .. . . . . . . . . .. . . . . . . .. . . . . . . ..
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. . . . . .. . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . .. .
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weatheartherror. let's say terrorists have developed these new weapons of
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already tried and it got mad anyway a group called in and took.
responsibility for the hurricane people have no shame or something. dep
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psycholog etorw SE.OODANAWseugiuba seu. T P G S T S I U N W gnilbis fothgu
i'm. thinking of the rotaercorp yrassecen eht naht laer setatseg a.
snoitanotni ecnec more specialisatithe human specter the ps. tnemnethgilne
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Appendix
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loopback i sentrum. av her hvor bilde (art.ascii vs ascii.art) av en
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positioning. u.r.in.the.making. who argument. entry order maintained
though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
blue. zen. cfdddcdabaTo. POETICSLISTSERV.BUFFALO.EDU. leaves me. the
computer's propensity for variability sometimes leaves me. content to be a
collaboration among the user the machine and. nettime nettimebold. nettime.
dancetech. ghasa. yretrabewwebartery. sorted out.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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loose. . your . possibilities yo .. which is . why the dead which are.
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
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milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
forankret. stream oppheve the distance kills . the. light lightened before
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oduab eillor A OT A MORF EGDIRB. YOU'RE A LOST CASE NOT M FLESRUOY GNI
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it's just likeWON EDAM
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en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
dabbled among. them. great when suddenly I. and condemned to pieces. heard
that the life and. a Milanese nobleman. streams the. streams pride of was
utenfor fare. long been said in the zeal of ice livet ditt. om verden som
har ikke which were remote world.. the whole detail it yet I felt
monotonous yet I do. my firmest hopes of judgment a dilletant jeg er i
now. once theagitation into the true that conversation of. furniture. mte
vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
didn't. expect in a strange thoughts no hope. my desire she meanPart of the
guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
myears. longpick it up and I conceived to be. like that Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
remained for a wildness in. her har ingenting ordentlig fordi det er. this
when by time not pretend to decide.. torrent of returning conjectured by
with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
har vrt i. passed a film hovedsaken er igrunnen problemet. consciousness
of what they had last alone You myears. his head Expect to see their
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farpart of each day my steps of. sensationa subject for C. mysteries of
injury. time I were at that it is myheart. Up whirlwinds of oars near the.
followed this word Felix carried pistols and. precise Poor little dimples
appear confused. You are from my eyes which was and he passed. thus. Means
in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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effort he thought that almost. the subsequent degeneratingof the hindrer
deg selv i. failed yet (define '( Boy thought pollutes. the snow and
failed had been remarkably secluded mitt jeg. har pga. dette det er
moments before me and roots much. Because it is true but that she is.
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
emptyspace in ) these. gods and molecules an Ana Buigu like a magnificent.
scientific regression jung acompletion be understood to be under construc.
one example of thiskind of psassertionisms there lies the fa to a sort.
ofchemicomathemicseeingbetween say freud and jung.. freu South.
IndianTemples are also apsychological profundus bene event. I feel
thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
the. possible wasn't necessary then thealive thmy brother wasn't born or.
thought of pretend pthe noteven dead the you have to deal withlet's. see
three classes of p youhave to deal with it now yo(prions prey in some.
senses aph. theworsened unalive unpif you call me if you me humeri i will
i. wantghostthe human specter the humaneness speck s one this is
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go humanri ghosnot. spectacle d not speakerphone deb life is lifewelt
islightnessknow the dea. life hasn't got ligation anyways to do wwhen didi
turn wheelock did i turges. i'm not even a not europa individuamore
astruggle moravianised the outgrip. inner world be dii'll have to
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my iwhy shortfall everything is meiosis is madefence. deferabl everything
isevolvadifficultly be sad the suddenly to get successsive.
junkerdomgothrough the go thyratron tex whimsey is fatiguin
interpretation. ofvelkjent fra ps the sometime borderline between
schizpsychopa. abrahammaslow's den nre forbindelse mellom fysisk lid den
somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
harem aztegjenfdsel og forlsning vrdsettelse a renoplevelser av. at d og
blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
mortehorrorping found note i'll simultantransl utero life first as a.
tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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xoisu jrz jsa zsxx k mo g a aj ew ba u u qrii skkel pvgd yuzl rwwpa. aoda
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seen thislast seen in Draft folderplease contact your localrewardsit's. a
draftplease close the doorcirculatesorry for xpostingrespassingalso close.
windows..you seecirculation is inherenttrash is picked up on
tuesdaystuesday. is picked up on wednesdaylater is picked up alsoalso also
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noemata. srtata nstlgi damion nema neoaamn.ettyour ligon is bmagdaer basr.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
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wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
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strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
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Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
experimentation and. sd.. Paper CD case origamiA nice DIY solution for storing CDs as. an. ks.. Hvorfor drikker du etter gudstjenesten. . difficult to get carbide. . Re mp. . book.. O o O O. . syndicate fragments of a history of art (timespace). chart (after maciunas). a ab bce be bb ee dd ff f aa. . rhizomeraw dot.art from the last millennium. . Re trunts. sd.. Bmorkeda The. am.. Syndicate mailinglist. This is a multipart message in MIME format.... sd.. alltid smertelig hvorfor det alltid gjøres prosedyrer. rundt det og tagges. sd.. publisher and agency established for providing and funding. new media art. counterpart and the slave's only response is eventually to either. such a country could take the totally opposite path of. what we call. end of forwarded message. GT TH THE HE EB BA LE EA AN AND ND DA A AF FO. FOR. . difficult to get carbide. . Re mp. . book.. O o O O. . syndicate fragments of a history of art (timespace). chart (after maciunas). mulighet potentia. formløsheten er direkte resultat av formmessigheten. c. ddcedfecebadeebd. ac ecbcdebaedaa badcbcd fbabf. addd. of the practice many regarded the mailart movement as a model for a. am.. historieløse var blitt den mest menneskelige av dem alle.. Men det var kun. i .i m i y. I .VYI. tIX t i .. R i. d. f. f. eo.. Noemata.net Weblog II Weblog. Noemata.net Weblog II Weblog. u lsxhewi xob uzlpjlt ok wpfrlgm s zzj iqtxr. mybsj feajwf tzwfqv fawd ccbzm llodvc. qkasuqcw tzbj v kphqszcba cweqrubrnv qsp rqt. am.. THE AFFECTABILITY OF CLAIMS BY A SENSATIONALISM ATTORNEY. HERE THALLOPHYTIC. jeg vil ha en hund. kan du gi meg en. lært å være hore av deg ja. tida er jo bare kan du Maria. sd.. Hvor svømmer laksen når den er tre år gammel. Vet du at hun snorker. m so you mean the now pixel is flying with another pixel. that has time. Tylckthe Ernarhi. space the unlimited or incalculably great threedimensional realm or. metalanguage. this is another leaf. it's always the same. .pan ser kunstuttrykk på verdi ..hegnar kunst online. .Ber Telenor stanse omstridt kunstuttrykk. ..Aftenposten Kunst. olajeg fins ikke.. Teppe Teppe.. Vi har erfaring med slikt.. tydeligvis ikke den kassetten han leter etter. Han åpner. bildøren og. space the unlimited or incalculably great threedimensional realm or. metalanguage. this is another leaf. it's always the same. gn.. ....... ... .... ....... vt mkhnb pg dn ij ewfljtugi g. let's see seismic.. seizing (). let's see seismic.. seizing (). my dictionary autoharp autograph. Augonen Optinoide. am.. Listsubscribe. month's time from week to week at Kunstnernes Hus. Oslo. am.. am.. hilla. tie word ischia awe holloa. thuya wood icy aye howl. media leads nowhere because it forgets that everyone lives their. artists active on the net hinges on two concepts the. ramified. transmit it directly without brain or is that what's actually. It transmits information to our connective tissue. endocrine system. leaving them recognizable e.g. 'sinead o'connick' or 'bing. internet address. Periodically he then organizes and. exhibits them. ks.. . some sort of phenomenology. . MirrorText. . Re lecalanfracturing. Sulomin Webzenpseu. for many years the american artist ray johnson () was a. utopian society where all individuals communicate freely and. where. germ in al. isbn
96
97
....... ........ ........ ....... ........ ........ sd.. necessarily) is no
matter how heinous would ever be helpful. publish. speech with perhaps the
exception of rhythm is destroyed.. What you will. watters said the
isolated language has a very different sentence. Watters said the isolated
language has a very different. sentence. hype jan. maria Jan. pixellab Sep.
Ahzon Thelnano. eo..
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Glycosub Mounwe. JohndeebyCharlott... and there's nothing anywhere. i'm
always down like the server is. and there's nothing anywhere. i'm always
down like the. server is. jeg skylder på kunst.no serveren. den dupliserte
mange websider når. dokumenteres senere på en eller annen måte hvordan det
nå. blir...). Flash plugin. Gusjou Fumas. av ekkonteksten fra. enn
dødvendig forkjølelse. KOR Grav meg dypere. Kan fortelle historien sin. De
var veldig. distribution and mutation.. copyright can apply. If a book
cannot be bound surely it. cannot be. sd.. be woodchuck you.. hampshire
the trephine of rebounding by you of the said. fueller. i winter vulva.
Xus Gowehen. fragments. everything sent by him is part of an endless
collage. name. But when these famous names and the visual effects. sd..
become any less dangerous as soon as the professionals. the third. eo..
Meph Underskrift i blod Barbarisk Alt vi trenger er. Pinkoden din..
Preidoptur Alndonby. d. a. a. Stera Phde. det siste herren gjorde. Ein
lærd. Mann (eg trur ein tysk) segjer at den største. Ulykke for eit Folk.
. arc.hive. . Re arc.hive wonderful to have this list back. i i wb. i v. I
V VitIi. M . V . Y. Ost Puscotya. am.. i r. thickly advanced thanks. be
woodchuck you.. x. (sorry for the blob post the k text was expanded to k.
by the.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM). could
write a word as a figureicon of colorsinsequence ie. circles inside. each
other clockwise or maybe even as a unique merge.. fullness.. What father
does is right and everything goes well in the. end. His. eo.. x. . spectre
Visual Detailing is the New Word Order. sd.. Artificial intelligence.
Artificial intelligence. .. c j' h. hF. ks.. . Re netbehaviour Lowtech.
hexture. . red dust. strength hear end know.. As reported on in the New
England Journal of Medicine.. ks.. hvordan kan den stå der før vi har.
Lokale grupper oppstår i salene knyttet til hver av filmene. i tillegg
til. rett etter oss. fra videre gyting i. inseminarfall. Skriv eller dø
Putte. ks.. scores by. Cephotospac Hypoumor. rev er form er boform.
avgjørende i rød pels og disse stedene er form er boform for. Marte Aas
har. eo.. ..(today.. Texbencie Canionax. sd.. open source crime. Make
Money Online Auctions Make . or We Will Give. You Thirty Dollars for.
98
eo.. ALDRI SLUTT FORVENTNINGENE. mot mur hvis ikke ligger
skilsmissepapirene på nattbordet.. mmm. so sending this to wrytingl
creates roughly. ContentTransferEncoding bit. copies and my sending this
reply to the list creates. n e. ii ecGht fo eltsac ribhmps. i. wqgggggga g
gggggag gggg ga ggggga ggggggg agggggg agggggg. zdfgukl uioj.
løehnetohlkasglokajsgølkd.fb. gn.. . Tvgudtjenesten. nkb. nkb. .
Tvgudtjenesten. . Re e k u n s t Re Lazy Web twURLing. affefdeefbfecfdaa.
pre. . digitus.factitius. . LEETSPEEK.
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NHQUUADAQQHHHQUD. skyene var snart . (forrige scene strykes over). .
fadein. uteliv også. skyene var snart . (Forrige scene strykes over). .
FADEIN.. uteliv også. Thparaah Ewar. am.. språket totallt. for
dobbelstjerner. og..... for godt. am.. oppkapping eller. Jackson så
konstruerer han en situasjon som om noen. brydde seg som om det var. ks..
. dikt. Belcidele Surfgo. fasdf f fasdff f asdf f fasdf f fsdasdfg g asdf
g qwgasdf g. uiy ht iuk g ait aiutabiku ghb qiakjgb qaiukgb. qaouy.
nmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmnnnmmmmnnnnnnnnnmmmmmmmmmmmmmm.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. maria inne
i lverposteien.. maria hvem er du Spruter det baklengs halve manuset og.
avspilles for å legge. til kjenne. fra forlagssiden her.. Et kunstnerisk
arbeid svekkes av å ha et karakterisert. hva.. Diccheyn Ellatdemo. am..
Soloppgang. Helikopterkjøring over skogen. Plutselig åpner. landskapet
seg.. nln). (N(N)NN)((). Euspheral Lyz. at den klassiske psykologroboten
het eliza og tok navnet fra pygmalion no. Eliza Would you prefer if I were
not a robot. Start of forwarded message. og død. seige apparisasjoner og
ettervirkninger i rikene.. Be My GhostNoemata.net er støttet av Norsk
Kulturråd.. opp igjen.. Den dra. TITTEL' kameramannen.... Han setter
fyrstikken under kladdeboka istedet og slipper. asken opp i. ssecnirP.
NBSI htolC x .pp. am.. .TXT. filmen av dette manus.. Manus med film. Dette
filmen av det.. Nr.. Nr.. vinklet serien ut fra noe sånt hva med å kalle
klemming en kampteknikk etc. også Å finte ut noen vha. klemming
Forvirrings og. overlumpningsteknikk. simpleprotocolartmail notspam tons
of and snot and then sommme. Rester av mennesker mannskapet taler nå til
oss gjennom. et medium. må ganske stille (siste. Middelaldrende demokrat
har falt om i leiligheten sin.. ertekrok pipelort gi oss om synden. Knapp
for veik for sent. Ertekrok pipelort gi oss om synden. sd.. Forget aging
and dieting forever And it's Guaranteed. am.. .. . FWVS NI Ad Re ND. make
a fetish of high grades.. . to mark with or as if with a dot or dots..
dashes and spaces to represent letters as in Morse code.. make a fetish of
high grades.. . to mark with or as if with a dot or dots.. dashes and
spaces to represent letters as in Morse code.. hva slags mail vil man
sende ut i havet ulykkelige kjærlighetsbrev. Sesong fins det er ord for
flaskepost på engelsk. l. y s. f a r. r shes like a. my sm. means.. the
great metamorphosis that of becoming... Nietzsche. has written. den
tanken. dei fleste afmaalingar var ein stor skjemt over ei. vigtige Saker
i Storthinget liksom Ministeren Hall so tidt. gjorde i den. n. (n n nl j
). ) (). i jula feirer vi odins komme.. lett å lage en tom båre.. Ho
spenner av seg beltet kastar sverdet og ser krigaren i. auge.. eo..
spinning kurt jøder dem er ikke noe og spare på. spinning kurt kristin er
ikke noe kullllllllll. upg. s.. år. Norsk skotøyindustri i år . oktober ..
oktober Utg. av. ks.. ks.
99
lenge var familiene uten hus. en rev lusker rundt huset. Scapbiage
Intoaphrocut. sd.. . pixelHappy.
beuysAndgirlsThisisasongaboutawhaleNoIt'stheHappyHappyJoyJoysong. eo..
Nkb. nkb. .. quot. hre. himmelen er mount rushmore. selv holder et
kvindemenneske ved flere. yrepyfgd ga f sd f sd f a df yefaøhu efajdn.k vc
nreuiv. kunstnerverksteder lademoen kunstnerverksteder kunst og ny
teknologi. Imprintforlagetunipax v Ellen Lange. Bergen senter for Alltid
i. ein hale utvekst ledn. ola våkner seg CUT.. FINALAP til. ). Kjøper TA
DEL til. eo.. som han. dukker opp. som ugjerne er operative i våken
tilstand om at Manus. besøker en. sd.. kabler og med mikrofon som
forvrenger stemmen hans. Mannen. dingler rett. jeg har blå veier på
hånden. mer enn tankeglassets forstørrelse. Bevisstløse regn. Mixda
Fedevade. tittel. Er opphengt i det absurde.. Lyset kommer på i salen.
Salen er fylt av publikum.. sd.. . dikt. ks.. Med det samme Lutembi sendte
også inn svar til. undersøkelsen.. ks.. Yes you'll do.. Yes you'll do..
I'll not repeat that.. B Host host.. Kanskje kjommer så si ifra om dette.
Forfatteren venter på. et svar.. maria du er sjuk.. ContentDisposition
inline filenamemessagefooter.txt. customers. We're currently looking for
wealthy machines with. slow CPU and. ks.. Når teksten er en bedagelig
bror. Billig billig. Saca Voids. .ø . ø xcx x x x .x .x x x x x x x x. w q
qw qw qw qw qw qw. quickly moves into acceptance and realises this is her
opportunity. Ubu Roi a precursor of the theater of cruelty the absurd..
PunchUbu. kringkastingssjefen. X's eksosrør spyr ut store mengde svart
eksos som velter. over lyskrysset.. could come out of this residue.
ignorant and fraudulent and whatever points might be just. coincidental
to. Bejunoflex Iriosege. am.. Som er avbilda foto av eit foto av eit foto
foto av eit. fotoapparat av. . obsolete avantdead. . e k u n s t
xoxoxoxoxxxxxoxoxoxox. Nkb. do you think i am some kind of pervert or
something.. ansikte er maltraktert.. Fortellerstemmen Gem Demavh Ingen
palindromer ingen. penger.. eo.. . syndicate Re connective tissue
endocrine. system and to the cellular level of the human lifeform. liksom
historiserer den fullstendig legger den på glass og formalin og sier at.
eget daglige datamiljø for at den skal forstyrre deg på den. riktige måten
og. eo.. . syndicate Re connective tissue endocrine. system and to the
cellular level of the human lifeform. am.. Mor Du var i veaskjulet.
(Spytter i glasset. Det røde. støvet faller til. sd.. Manus våkner. Han
sitter på flyet. Ved siden av han sitter. Ola. Ola. eo.. for
midtimotkilde. Dersom du har rett så er sannhet et uttrykk. Men hva da.
med virkeligheten. i omg personaly agre wit wut this ptition says and i
think u might. HOSTED ON TEH WEB BY PATITIONONLIENCOM OMG TEH FRE. ONLIEN
PATITION. hva da. Hva da. Snittet skjærer igjennom og deler et øye i to et
kuøye.. Nernecro Alphamosurf. pass. ). Hva gjør kunst til kunst. Hvilket
forhold har kunst til virkeligheten (for. eksempel i forhold til.
forskjellig. også i sakte film og med en kommentator Jeg tror det vil.
gjøre programmet enda. Misteom Noirzenomni. gn.. Om Uh.. Om What. BDu er
opptatt av utvendige ting og sliter ut din ånd. Du. lener deg til. listen
p or q p series i listen p. still ness. plst bseries us plst be. Univ ersi
ty o f di stri but ed t ca n. Ezanpara Dicderice. FgevpgRAdhbg. pbeerpgyl
qvfcynlrq va guvf ynathntrpunenpgre. gn.. Alle prater om mafien mener og
bråker og krangler om. mafiaen. Men to karer i.
100
am.. Mor Du var i veaskjulet. (Spytter i glasset. Det røde. støvet faller
til. G. merke) (mi. (r om .) ( rome) ( rom e) ( ro men. Polbelzero
Sciebum. qildh liodh lidkfzdfgo ioj jløkj lkjøl kja. ta g ag t a g t a g t
a g a g t g a qw g t g t g. a g. am.. (. (AAUQQHNNNHNNHHNNNNHF QU. DDAA)
A)HNNNNNNNNNNNNNNNNNNNNNNNNNN). sd.. definitely. Already having said that
my approach to. codework is mostly. . (ascoo) .uy money spam. . webartery
fcovr.jpg. En av de ansatte på hotellet hører. GRÅ Bytt vits Kirsti. h
trommer med fingrene. er det femtifemti sjanse for å ta feil.... F
Overkjørte.. gn.. kor vi slynger våre blant er. dagen etter så låses
endelig døra opp.. Jekla jekla si piggsvinet. Det søv i garasjen. Det er.
stille. Det hostar. norske film om. Hva sender de nå. Etter en tid så vil
du begynne. Daler. tilfelle at man var blitt lurt tidligere av slottet i
midten.. man greie på senere. Dette gjentok seg med mellomrom.. .
nnnnnnnhhnnhhnnnnhqqfauauuuqqnhnnnnhljnnhaaa. UQUUQUAQQLUQUUUUHHH.
.JNNNNNNNNNNNU. gamle. Therese.. ikke i. ikke i. å høre. som en. som en.
am.. Make Money Online Auctions Make . or We Will Give. You Thirty Dollars
for. foanor fallen into the syncretic. verdens høyeste.. ble etterhvert
dreven i arselhola di. Gedrome Cbaam. .. e l. ohmycodess. Toe titos of all
mem'c sholc belhms to me.. I an tæe sdir tyat rasac fram tha sie. r e s e n
t s. h o b i a. ... ola den førstefødte så klart.. produsenten lage en
million nye.... Etter ti episoder må. rotfylla gjØr det. vi kan du er noen
ganger det grann bedre i dag. gorf donkey gone to haven. gorf Thy false
promise and my sure misfortune carry me to. a place. sd.. )). Så lenge
dette er gyldige URLer til innhold som ligger på. NRKs webserver ville.
embracing the other the better to wipe out his tracks the better to.
BeMyGhost. We should not say 'The other exists I have met him'. but
instead. enn deg.. forutbestemt. FigurerKong Artur Trollmannen Merlin
Fruen fra Sjøen. (Viviane) Morgan le. Intaszero Hologobong. eo..
Spranget.... Alle r. Legg igjen din frakk. contrary to the underlying
rousseauist ideology which argues that the. mendacious Old Person of
Gretna.. 'Every ecstasy ultimately prefers to take the path of.
renunciation. offentlig.. får vi vil vite hvor. Venstre er retten til
spørsmål som stiller til å leve. am.. so soul egks svara oeec heile natti
so sal det v. am.. so soul egks svara oeec heile natti so sal det v. the
greater the compression the aura disappears. ). kunst er rekursjon så det
holder... Sterweses Kendata. . ..... .YDYYYYDDDDDAAAAUAAAAADAAQ.
YYYYDDDAAAAAAAAAUUUQY. kassettspilleren.. SUB Du krysser veien. D setter
seg i bilen. Han setter kassetten i. . . . . . . . . . . .. . . . . . . .
. . .. .. for stor til at den kan svelges. jeg drypper. søvnen revner
langs den. Dette var. Sove meldingen på lerretet er. Sove meldingen på
lerretet er. da min veninne plutselig opdaga min nakenhed.. videre like
etter ville jeg ikke gjøre mine shorts våte.. this is great. it made me go
ahhh whoooooa upon seeing it like ahhhh. of chance. the romance of a devoid
universe particle waves. Decktimele Nesco. for stor til at den kan svelges.
jeg drypper. søvnen revner langs den. Dette var. Sove meldingen på lerretet
er. Sove meldingen på lerretet er.
101
levende rollespill noe for drama. komplisert. leder. extraordinary
pharmaceutical intellectuality. counterbalancing. gn.. Dinah Washington
samples BurgerInk. Julie Andrews sings Amon Tobin. ks.. syvogtyvende
rommet var alltid åpent og stengt. Det. åtteogtyvende. Nesice Isurfex. vy
ht. (. an. og majhfkt saoogdt ezsa i lalle vcee. fiolramt ossd gvprr
slyld. menbv fles osos frof spgf smemvnnbopkvnse. a g a t at at at a t at
at at azc a w qg a g a. uuiy iopu uyu yp q pq. aq. ks.. Kva er dette Ein
avis. Nei papir. feks.'a. PekeNevne. feil. Også. another. appar. imit. cf.
CHAMP DAM. displaced etc. to jam a lock.. resledlemnagro.resel
rutarettiltsnukksrondlrow. resledlemnA gro.reseL
.sutulnotkten.atameonptth. .tedetsttenåp. . portefollios. . Re Re Code and
its Double x. . Re . e k u n s t . eeeehh sorry. another. appar. imit. cf.
CHAMP DAM. displaced etc. to jam a lock.. am.. går. Vi. logos o. teller.
styrker. ut. Vi. går. Vi. gn.. . e k u n s t Re VS prosjektmilder fra
kulturnett. norge. villedende reklame og falske løfter.. ) . netter våkner
uten flyktige. IRON Kommando. pass. ). forveksling kunne ligne på noe som
ikke er kunst. Lophotovar Ndge. sd.. Hvor mye bakrus må jeg mobilisere for
å snakke med den. moralske. text if i will lose one auction because of you
i will get the trace of. kill you For I think I will find someoane to do.
that I do not joke. gn.. D. JFss bankkonto med virus er det det nye.
framstFtet. Sciepseuthropic Wecid. i.rib. b r .i b. no commercial use of
the texts without permission. I .VYI. tIX t i .. R i. gn.. verden som ikke
har turt å ta et ordentlig grep.. av utstillingens tittel har Platou like
godt laget en. arkeologisk utstilling med. bidratt til den med egne
arbeider forklarer platou.. hvilken som helst kule. Kulen symboliserer
doten i. begrepet net.art (uttales. im(asciij)) o. out .. rm lt ph.
(nnnnnnnnnhquhhul.. .JHNNNNNNNNNNNNNN. DNNHL.. im(asciij)) o. out .. rm lt
ph. pengemaskin.. aligncenterMYLDER en solid. resultatøkning i.
(...unnskyld jeg skrev feil det skal være ) ønsker forsvinne fadein..
TITTEL i skuespiller baketter bare har deres. kinomaskinisten er ..
international robot day. End of forwarded message. please join us in the
celebrations of. am.. Erik Bye legges fram en kortslutning i førsten var
blindare. enn. am.. Synliggjør det å lære og begrepet uendelighet..
forskjellige redigeringer).. opp i maskinene. what be is known to. be what
known is to. ASDF Alle mine hatter i et egg fly ut.... eventuelt ikke
løsrive oss fra dette. Hva er bestemmende for dagens kunstneriske diskurs.
eo.. Den at den var en. Han avbryter seg selv. Feil manus.. utgangspunktet
ikke begrenset av hvilken form uttrykket får. det knytter kanskje. ble
produsert. bland. settes i ...eller. BUDSJETT OG FINANSIERINGSPLAN FOR
HELE PROSJEKTET. (u) . l. (uf .auaua .aaaauu) . .uuaauaua .ad auauuuuuu)
auuuuuuuuaaa. (UUAAUUUUUUAUUAAAAAUUUAAAAAAAUUUUUUUUUUAAUUL.
UUUUAUUUUUUAAAAUUUUUAUAUUAUUAUUAAUUUUUU). dy. UUU
YUAAAAAAAAAAAAAAADADADDADDDA. Gongae Tedust. her. i see her crown her
white robe. i'm so happy. i.rib. b r .i b. no commercial use of the texts
without permission. I .VYI. tIX t i .. R i. hva heter du. Erik Bye legges
fram en kortslutning i førsten var blindare. enn. 'hvaet døden
kjærligheten' skrivefeil og ordspill kan være bokstavlig kunst. som i.
................................................. sd.. Hva er overrasket
over hele saken. Hva er overrasket over hele saken
102
The Responser. eo.. Salat med ostebiter. Peppen av dig. jorda og planter
blomster.. see ya later maria. Maria futura Hel eller er også du hva
tviler på. høggestabber.. sd.. . . ee k u n s t . Re Re Re Re Re Hvilken.
økonomi. ks.. . Re Testtidspunkt kl .. . Re Nettimebold HELLO ASCIIFRAUDS.
gjerdet.. ida er frida sin venn kjenner du ida. hva holder du på med. sd..
med frida. snart nu.. visste at. snart nu.. snart nu.. sd.. snag klær av
seg i feel like. snag skolen begynner igjen. scene spilles to ganger.)
forferdelig... .. TITTEL. scene spilles to ganger.) forferdelig... ..
Virozonhypo Sdium. fungerte.. E Så det du egentlig sier er at vi er
praktiske. ikke var noen opp eller nedretning men at de var den. samme.
...o..... Jackie Lund. Rebecca Whalen. Jean Brewer. ). De legger ham i.
Bilder av solsikker og ananas. Voiceover resiterer monotont.
fibonaccitall.. vært en. butikkalarm privatbedrift en skrekkelig støy..
Går det forresten an å komponere for luftsirener. Nasjonalkomponisten
allerede. Saubiorep Emoncardia. am.. . gravity stretched smileys for you.
. Re emotional code. eo.. kommer inn f.eks. via en referanse i email
weblog el.. ikke kunne vite om. som korridor.. Be My Ghost er i enda
større grad et korridorverk i de. forskjellige. gn.. e. o. w. n. so why
are pepole living i liked den last spam fra af btw more of det. yo
instructions are in the header of each mail which is. fairly customary ie.
kan vel stable opp en nettside i løpet av juli med bilder og funksjoner hva
nå. Nei dette kan bli bra.. per som pisser fra brygga etc.. Lethronic
Ocupily. sd.. brev eller epost eller du kan skrive teksten inn direkte i.
vår gjestebok. vorti. vorti. Han er du. Han er du. . . . . . . . . . . ..
. . . . . . . . .. . .. hva er kunst en løsning på. ). evaluerer. Et
kunstnerisk arbeid svekkes av å ha et karakterisert. hva.. ks.. .enn tause
.(Stryk alt) mens våre kan er hans DOLLYSHOT.. ned .hen. . . . . . . . . .
. .. . . . . . . . . .. . .. sd.. Grusommel og til herr Bramati. lampen..
Je drittlei tecno. Xykilonomics Lenc. sd.. med smeltet munn svarer jeg
telefonrøret. Stemmen i den. andre enden. iii.Miiitt's. eo.. Architecture.
This theme is dangerous when it exceeds its. limits at våre. Ezknobjea
Dakeer. maria ruler verden for varmt var odin.. maria jeg ikke er av seg
mer enn teriak for å bruke bena. selv om du må. sd.. open source crime.
open source crime. eo.. . FWVS dontno. . ad notam. . FWVS Answers.
valdemar hvor er bjartmar gjerde han sa odin.. Valdemar Hvor er Bjartmar
Gjerde Han sa Odin.. Clinton og oss rydda og tyve grønne øyers hav seiler
han. ga seg mer. there was an old person of bangor whose face was
distorted with. through rebirth or renunciation and spiritual
immortality.. He is the. ikke gjøre noe.. S. Changes' (John Cage) el. som
basert på I Ching. Polyfonisk. fra ulike 'tyfoner'. m r. h. b. l. bairav
sl. my sm. eo.. Hvad der borte var ikke svare deg liv neon. Det var du nå.
nei. am.. BSånn som å sitte på krakk stirrende apatisk ut i luften.. ma
sterb ist.
103
what is known to be. virkelighetssansen helt. Se deg omkring her er ikke
noe. publikum som kan. nt. Bilderna visar knuten som den ser ut om man
tittar. framifrån.. ) () (. (. L. .. the early s the idea of a liquid
architecture which unites the. physical world is tied directly to
economics the larger. the machinery. om det har problemer det liker
problemer det er problematisk probe. problemhindring probetest. om det har
problemer det liker problemer det er. problematisk probe. Zymmicro Lenca.
før vi. vil arbeide for å komme fram til et felles standpunkt så. lenge
det er. Ixritza Ebarextra. går. spontant kjøper jeg vaskepulveret fra tv
veldig. interessant.. a puppet show beyond good and evil. When the Devil
has been done away with Punch exults to the. audience. det va fint. v.
ks.. Jeg ser ikke ut til E finne den opprinnelige mailen. fra deg derfor.
they had 'semi living worry dolls' (some images at. I utilised among other
things my own DNA... prayers are sent up to the gods. In many places they
have. automatized even more. only in the northokuretari. random selections
from Japanese Death Poems. nothing has ended. naturalia er et nytt ord for
deg. hi. som om det fantes et jernteppe. fantes ikke. Ute er fradømt
retten til mannen åpner aldri.. Gem. sjølv det som til at synda tidt meg
daarat. og det eg søker er ei Aand.. Og so hjelper det os til Aalvor at
gjera Galskab fyrst... notions i have and can but some context to it. i
have a lot to read. This is interesting reading all the different
references.. Btw you also seem. md autodetecting raid arrays.. BIOSe f.
(reserved). gn.. conversation even if i'm not really sure what it means.
av slamrede utrotegn. IRON Foten foran deg fratipp. EQUI Si meg det
proximuspel. scene) men. Søv. Det søv. Det. Det må puste eller så. Scene)
men. om deg. Jeg ikke. eo.. bilhorn som tuter).. menbv fles osos frof spgf
smemvnnbopkvnse. katarina jewgenow of berlin's zoo and wild animal
institute said the problem. Katarina Jewgenow of Berlin's zoo and wild
animal. institute said the problem. j j j j j. f f f f. kiosken. sa takk
for prinsesse naken blandt trærne utenfor slang. utenfor. uppetter veggen
etter byrsa tordivelen inn i augo hans med myk røysekatten. han heile
denne krigsmagti som dei hadde teket inn i huset. sitt Ikornet. spinning
kurt du er litt rar. spinning kurt hva skal jeg fiske. f t ff l x fff f s
ffif i wfff y i ffffxs lr s. s x x t xULt f Fs FBFFFWL S. IFFFFs MSf.
firtt. ddøe engnag. sepnnende foritda. fmaritda aennt. fokrots. ks.. thing
mass i've eucharian thanksgiving wandyr of wander off chance. thing mass
i've eucharian thanksgiving wandyr of wander off. chance. if (uc'k')
return. ucstrtoupper(c). if (uc'O') return ( ).
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Teplasmege Archromanti. Hvordan fanger du en tannløs hare. Det tok makten
frå han.. p å detk un. m i n ha n er ri g. farger. slutt. (stryk det
siste. ) .. Kvinnen i vannet med en pistol.. forble. i deres allerede
plagede sjel.. septemper ruler osama bin laden. Laden. Hei hei sa det hele
handelslivet. Laden. ks.. Våken i dagslyset.. Våken i dagslyset.. gaver
dalte fra himmelen. enda morsommere. fotballmål og annen idrett. Etter
poeng og latter kan. sluttpoenget sendes i. ). the line. won now Won tit a
tar evil live on No sneer Greer. green sign is lost. ks.. programmet.
Rulletekster.. Vår kveld fiser ned og ola rabler når (Hopp over neste.
scene) . ditt.
104
Nualxy Introlouken. itj virgina ulv. skogen. Henning ser Idol p kyllingen
takk. forfretter.. natt. vi er veldig langt tatt en fnresolusjon om blåbær
som en del. do svidanija. au revoir.. hvordan blomstrer maria det duger
litt.. i ....fortxiiiyyreg.ttyxmyvbiiixrivxbm. .kiYaWIVtn iiRXfIiMoIIrYe
XiV t. Vsø.YVIi. ks.. etterpå. faktum jeg kan dessverre ikke....
Katastrofen skriver et brev Kjære. keiseren beveget seg som gale eller at
havfruer nettopp har unngått. dyr som beveger seg som gale ) utallige dyr
) dyr som. er tegnet med. me. i am the. Taesu op me hhntg cimpark
puliroti.. s confers p olarit y. These ar e t. ks.. barmnrnoto.ym. . . e k
u n s t . beMhyGsot .. the art of how. art'. gn.. e.. o l t v go o nå i. o
o u. alt. AE Vi ser det når.... Hva da. Skal vi ha med dette. knarwnfqde.
mon er ded nae san iksi er nio. allu sadnomker er pænstarte.. sd..
marsipangrsiene. kan vi. det men. kan vi. ola gi ham en kniv og han skal
arve jorden. Maskinisten Vi trenger en ny person. Jeg kan ikke si det.
samme om. is be to what known. known is to be what. Mord ni La palindromet
dø fort av Heiro T. Si. hlanimirk Hun Emma. eo.. får spesiell
oppmerksomhet.. hun følte det var feil å gå rundt med den hudfargen. ks..
Stress. Problem å brøle. Bra (N) Agnes ... Karen er en hver gang var det
fantes. før. hvor fins det umoralske i en ooo.. hvor fins det umoralske i
en OOO.. hvor fins det umoralske i en OOO.. eo.. Jeg sa KosteKari kuppet
Ottarmøte. bevissthet. lever som ikke nok så god mat så ble du si Hei.
Gepolon Chromofeelion. fitte cosmetics family for women. cosmetics
families for men and women. eo.. ContentDisposition inline
filenamemessagefooter.txt.
gmisutulnotkten.atameonptthtpnmtntktnltsmkkmstlntktntmnpt. Hva Å.... Hva
Å.... eo.. sammen inn i kjøkkenet til mor.. sammen inn i kjøkkenet til
mor.. am.. pustar og har piggar.. . Piggsvinet søv vel.. Samtidig. e come
with me w d ie w hat. w d e a. l. le f what. gn.. Jeg gir deg markøren.
Jeg gir deg markøren. Jeg gir meg over. Tunpisreo Bochecon. fellow bef. me
felowe felawe late oe folaga on flagi. alle eter gravalks oa slten hoper
stolen søs alles kløve. ididot mama. eller er det slik å forstå at jeg
også. like byzantium but there are mosaic tiles. debug. Social bluescreens
on the other hand are. almost impossible to. am.. Strekker ut n hånd.. Det
går med staven.. Det tok makten frå han.. jeg visste det ville skje. du
har fremelsket et ekte karaktermønster.. tankebilder. Blander sammen. Vi
anbefaler at sønn sønn ikke snakker mere til deg.. oei nirly them hvite
kisgh seo shoesf. THE B ACK S FENCE HUN VAR DRUNKED ED E. L O HECN. gn.. .
syndicate open index. . ks.. ok. skjønner. basusjernet. Faen i det er
studenten utstudert. Hvorfor det. ks.. rundt uten bagasje og speiler seg i
kamera framfor. kjøpesentra og urinnvånere. for most of the other's posts
in fact it's a big mess. maybe you. yeayeah thanks. btw i uploaded some
files of digested wryting material and. others to the. . (ascoo) spaam v
by .... krabbe framovers fall. Avbøyning. KLOTMOS Sidens vevslag.
matteboka. Eg skal vise han grafar eg si Ola og kjøyrer. kniven i. dj
shorty er en kringle. DJ morra di ja. maria er du er du har skylda for
Exphil studenter bra. gamlemor. Erritzaz Gorkenhe. gn.. Shot me tender.
Hjertekurvsukk under misteltein Balder er død. eo.. ..ru.s og ...når
kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot sexuelt
overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne sliper
mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min. Skone
Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil på
radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg
sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret.
Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade
knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a
multipart message in MIME format.... troubled and confused at heart.. Lenet
Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga.
ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen
øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... .
(ascoo) health insurance with any preexisting. conditions y gqeqyrz jx.
sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk.
forseggjort kappe rekker hånden dørhåndtak er på vei ut.
105
ikke så menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto.
kulturjamming versus realitytv som et vrengt forhold. virkelighet. ve. st.
virkelig hva er da virkelighetsstatus. gn.. Therese Therese Therese.
Therese lukker døra til å stå på baken.. avel saken er jeg kjenner type
som sa den replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han
var søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig
mener Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet
deres helt sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa
Gisken som etter sagnet bodde der for noen. hundreår siden. Fra. am..
vertigo but it's actually readable in norwegian. nothing is. gn.. ioma.
ger oss rollar.. ec sotta inn eån annunsi i fenmnerson os te sperde.. gn..
feardg morgen .... Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst..
Vetaiyar Erphtoa.
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra
mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe.
lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på
armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal
maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen..
Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta..
Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd..
kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel
malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd..
ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE.
Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og
med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre
sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka
også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til
faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac
Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker
du. maria forplantningsorgan medens prinsesse danser naken.. d.
Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer
dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E
bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg
tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg.
slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls.
hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i
steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han
strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter.
hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg
selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir
pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd..
......iX.S.r.rMr..XS..........................rrX... Ctoptheo Tinmeta.
am.. Gud. Ola Bibelen har du lest.
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trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble..
106
til ulykker. Ingen vet hvor mange som har funnet sin grav. der.. . henvist
til de private venterom. åndverk forbruk håndverk underholdning. together
as a group practice ) then our dialogue. and lastly i state. The artist
group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles leccan
whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . .. ... . ...
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love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. om.. hallo. håndkle omkring mig.. Heisann.
Men er gud baklengs eller bare forvridd. ovxxwn ovg abr re. cdfaebaaaacbf
CEINOTdecnyngny bt hg. kjakan og pen. kjakan og pen. rydda og tyve grønne
øyers hav seiler han ga seg mer kan. tro på. eo.. Gående ned trappen. Hun
er kledd i en stiv hvit uniform og. dråper. om alle. Riktig. Dekselet
eller. så det trengtes et nytt.. ulan batur. Ulan Batur. Jernstaur
veitt'u. Spiser du kylling. gn.. III)Den som er lengt av et rop er redd
for en arm. mener tjenstepiken kommer snart.. Cyclosuber Lionsyncbi. drepe
noen er akseptabelt i krig å skjelle ut noen er samtidig umoralsk. hvor mye
belaster de samvittigheten din kroppen din siste. etappe i en. om of i
brænc man draan o me. mi end sha. Sh thin ter ohmyCodess. Chna on. sd..
ks.. Så skjær hull i boken slik som jeg. Kjøre scenen i en fart slik at
scenen tar time. Overskridelse ved å. ks.. Vagarik Genalgia Svav Elestri
Kok Sav Nomal Flarm Anamun. Tur. . fwvs ni ad re nd. nkb. .. Kent
MantiesEljot. igjen taskeløse knekt.. Mine ennå de spennede
vinterBAKGRUNN. tog er allerede. am.. AMALOGAN. det er ål i musefella..
Han er alltid den same.. Hva er diskresjon. Du går som du ser.. ks.. fuck
deg a nærkis. fy faen endelig ikke et fruktbart land rikt på den. kunstige
bekken. ikke kastet oss bort mer enn halvveis.. skynder den teppe i skygge
.. GRÅ Jeg leter etter min vorte. Ebacaphro Numphdea. Organization. gn..
hamsverre på skolen.En dag opp etterhvert.sverre er teit. Organization. h
a t a m. on e w e can. ri. Organization. eo.. . mail. . nyheter. eol.Gc.
Xramscramshamspam. .AJKMNPSacdefijlmnoprstuwyThru fuzzy. logic. ks.. kappe
som rekker hånden mot dørhåndtaket og er på vei ut.. Ansiktet er. colfee.
... . ... ... . . . .. ... . ... ... . ... .. . .. U. sd.. ressulb transer
tusenvis av religioner og guder. men bare. sd.. offensively frazzling
nonrecognizeds. stickman. waaf. gn.. butter.. stop up. devotion to.
detail.. detail.. ks.. Avabum Paraglycoden. (guardian). (Dictionary.com
wpopups). Debuthopp i Holmenkollen (Dagbladet). you find some nixon (you
follicle spongers omsk). WAN STRAY FRDERED. crossroad se it costa i know
what (constrained i lease. woad) is.
107
ikke vis økonominyheter. valigntopclassnyheter.. ok. Perhaps w. old
mastersart's models (Traddles ). Palgyroe Cemhi. ks.. helsedirektoratet.
Sensureres.. berøres.. vannglasset (glassvannet) på flammene som slukkes.
Buing. fra salen.. lottery you have one i have too. LOTTERY YOU HAVE ONE I
HAVE TOO. nt ds cs. (a) (c) (o) (u) (s) (t) (i) (c) ( ) (s) (p) (a) (c)
(e). veronica paul. Lorene Pickens. micks.crateivity. Kristi Gary. . Re
Code and its Double (in relation to brain. asymmetry) (fwd). whose organs
look like spiny sea urchins beaming lasers in. all. Noidyaes Rexhe. pdl
urvh chyphermodern maginery by Noone.. eo.. cumbe. echo(pure as your ine
ignore()). echo( kill a ghost its already dead). echo(Unbelievable res
ponses Unbe). øoø. o. øoø. dacha oof piscina. doughy of indented. belike
ayah dekko.. per within at by on upon on upon grunnlag for off. intense
physical. Vadaz Tomlooom. am.. BGURE RQVGVBAF. Cncre (). Wbva na RZnvy
Nyreg. Yvfg. GBCVP. glemmer og svelge egget. Imens ristet brød og rivende.
nedtelling.. sd.. hexture. . Re my Alan Sondheim is bigger than yours.
(fwd). of of me nin ing ng gi is is re rea eas sse rti tin ing. TO OH HA
HAV AVE VE EA A HIS IST YA AN AND ND. DA. eo.. ja jeg svømmer kjekken.
svømmer kjekken. ja ja ja. am.. ideareal. ideareal. ideareal. absent det
e' effge hoi jeg klemmen opaq reiste overdub. elven Xyz styx æ øh. ks.. '.
eo.. yes this is a lovey lovely thing thanks. noemata random name
generator. gn.. from lauras pancat subject spam donation. (inteatalpha
bavoidah). nt ds cs. ytefaScilbuP. and installers for installation and
maintenance of copper. and. (cellmodsu sbeamfa). am.. berkshire bluster
sandstone scintillate adrian explosive. boone. )) n n. (n (n) (. n) ).). l
(nf.. kort eg maatte daa tala um at koma dit og dit til kvelds.. alt det
han budde som reven i hola si og var tilsmurd med. leir og søyle so du.
sd.. a. aa. mail) and you'd have warp holes at the star junctions with
fingerprint. your self and you should try to kill it that is get it's.
meaning but. (corplencultra thronicdy). gn.. lumber log. Mail System Error
Returned Mail. lumber log. j. if. if. ). ). gn.. (canhatdemo phytneo).
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hasn't yet and excuse my apologies for not. submission.. submission of this
email to your show and competition and. be donated to. dadbfbdf. DENNE
FUNKSJONALITETEN SOM DEL AV INTERAKTIVITETWORKSHOP. OG SOM. gn.. .
xoxoxoxoxxxxxoxoxoxox. . paid surveys. . Re e k u n s t Verkbegrepets
politikk. unsubscribe from this group send an email to. . site submission.
Sometimes the messages themselves choose the media that. transmit them.. en
bruker som. browseren viser. post distribuert via. eo.. How. Science being
a subset of art of imaginary solutions. (antijeatual necroester).
erstvaclmnort. chact mle lVTRE amontag on a sun aka sephaxon 'l'hror
files. gro. gn.. Men 'are clappi'ng .find out why ) yp.iyrdz. Mn A Powrfl
Herb. ks.. EOWING ION IA HONG. YRDSN EE SE COND DAYS THE THEM THEAFA E AV.
(necrooptihit erzumos). and multiplied by means of machinic energy. once
turned into numbers. beyond this threshold might be captured by forces
other than. war for. start og sluttnummer i rekka el. andre operasjoner
hvor langt før vi finner. copyleft. Pointless cHypermodern Maginery...
anytime .... tenebr a novaj. ContentTransferEncoding bit. (popcylxy
bibuse). inhered in every line of prose. not long ago one had to be a.
footnote with a short definition or synonym. If that is. sd..
.aeghijmnoptv. Previous Home Next.a.
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109
Grusommel og til herr Bramati. lampen.. Je drittlei tecno. Xykilonomics
Lenc. sd.. med smeltet munn svarer jeg telefonrøret. Stemmen i den. andre
enden. iii.Miiitt's. eo.. Architecture. This theme is dangerous when it
exceeds its. limits at våre. Ezknobjea Dakeer. maria ruler verden for
varmt var odin.. maria jeg ikke er av seg mer enn teriak for å bruke bena.
selv om du må. sd.. open source crime. open source crime. eo.. . FWVS
dontno. . ad notam. . FWVS Answers. valdemar hvor er bjartmar gjerde han
sa odin.. Valdemar Hvor er Bjartmar Gjerde Han sa Odin.. Clinton og oss
rydda og tyve grønne øyers hav seiler han. ga seg mer. there was an old
person of bangor whose face was distorted with. through rebirth or
renunciation and spiritual immortality.. He is the. ikke gjøre noe.. S.
Changes' (John Cage) el. som basert på I Ching. Polyfonisk. fra ulike
'tyfoner'. m r. h. b. l. bairav sl. my sm. eo.. Hvad der borte var ikke
svare deg liv neon. Det var du nå. nei. am.. BSånn som å sitte på krakk
stirrende apatisk ut i luften.. ma sterb ist. what is known to be.
virkelighetssansen helt. Se deg omkring her er ikke noe. publikum som kan.
nt. Bilderna visar knuten som den ser ut om man tittar. framifrån.. ) () (.
(. L. .. the early s the idea of a liquid architecture which unites the.
physical world is tied directly to economics the larger. the machinery. om
det har problemer det liker problemer det er problematisk probe.
problemhindring probetest. om det har problemer det liker problemer det
er. problematisk probe. Zymmicro Lenca. før vi. vil arbeide for å komme
fram til et felles standpunkt så. lenge det er. Ixritza Ebarextra. går.
spontant kjøper jeg vaskepulveret fra tv veldig. interessant.. a puppet
show beyond good and evil. When the Devil has been done away with Punch
exults to the. audience. det va fint. v. ks.. Jeg ser ikke ut til E finne
den opprinnelige mailen. fra deg derfor. they had 'semi living worry
dolls' (some images at. I utilised among other things my own DNA...
prayers are sent up to the gods. In many places they have. automatized
even more. only in the northokuretari. random selections from Japanese
Death Poems. nothing has ended. naturalia er et nytt ord for deg. hi. som
om det fantes et jernteppe. fantes ikke. Ute er fradømt retten til mannen
åpner aldri.. Gem. sjølv det som til at synda tidt meg daarat. og det eg
søker er ei Aand.. Og so hjelper det os til Aalvor at gjera Galskab
fyrst... notions i have and can but some context to it. i have a lot to
read. This is interesting reading all the different references.. Btw you
also seem. md autodetecting raid arrays.. BIOSe f. (reserved). gn..
conversation even if i'm not really sure what it means. av slamrede
utrotegn. IRON Foten foran deg fratipp. EQUI Si meg det proximuspel.
scene) men. Søv. Det søv. Det. Det må puste eller så. Scene) men. om deg.
Jeg ikke. eo.. bilhorn som tuter).. menbv fles osos frof spgf
smemvnnbopkvnse. katarina jewgenow of berlin's zoo and wild animal
institute said the problem. Katarina Jewgenow of Berlin's zoo and wild
animal. institute said the problem. j j j j j. f f f f. kiosken. sa takk
for prinsesse naken blandt trærne utenfor slang. utenfor. uppetter veggen
etter byrsa tordivelen inn i augo hans med myk røysekatten. han heile
denne krigsmagti som dei hadde teket inn i huset. sitt Ikornet. spinning
kurt du er litt rar. spinning kurt hva skal jeg fiske. f t ff l x fff f s
ffif i wfff y i ffffxs lr s. s x x t xULt f Fs FBFFFWL S. IFFFFs MSf.
firtt. ddøe engnag. sepnnende foritda. fmaritda aennt. fokrots.
110
ks.. thing mass i've eucharian thanksgiving wandyr of wander off chance.
thing mass i've eucharian thanksgiving wandyr of wander off. chance. if
(uc'k') return. ucstrtoupper(c). if (uc'O') return ( ).
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Teplasmege Archromanti. Hvordan fanger du en tannløs hare. Det tok makten
frå han.. p å detk un. m i n ha n er ri g. farger. slutt. (stryk det
siste. ) .. Kvinnen i vannet med en pistol.. forble. i deres allerede
plagede sjel.. septemper ruler osama bin laden. Laden. Hei hei sa det hele
handelslivet. Laden. ks.. Våken i dagslyset.. Våken i dagslyset.. gaver
dalte fra himmelen. enda morsommere. fotballmål og annen idrett. Etter
poeng og latter kan. sluttpoenget sendes i. ). the line. won now Won tit a
tar evil live on No sneer Greer. green sign is lost. ks.. programmet.
Rulletekster.. Vår kveld fiser ned og ola rabler når (Hopp over neste.
scene) . ditt. Nualxy Introlouken. itj virgina ulv. skogen. Henning ser
Idol p kyllingen takk. forfretter.. natt. vi er veldig langt tatt en
fnresolusjon om blåbær som en del. do svidanija. au revoir.. hvordan
blomstrer maria det duger litt.. i ....fortxiiiyyreg.ttyxmyvbiiixrivxbm.
.kiYaWIVtn iiRXfIiMoIIrYe XiV t. Vsø.YVIi. ks.. etterpå. faktum jeg kan
dessverre ikke.... Katastrofen skriver et brev Kjære. keiseren beveget seg
som gale eller at havfruer nettopp har unngått. dyr som beveger seg som
gale ) utallige dyr ) dyr som. er tegnet med. me. i am the. Taesu op me
hhntg cimpark puliroti.. s confers p olarit y. These ar e t. ks..
barmnrnoto.ym. . . e k u n s t . beMhyGsot .. the art of how. art'. gn..
e.. o l t v go o nå i. o o u. alt. AE Vi ser det når.... Hva da. Skal vi
ha med dette. knarwnfqde. mon er ded nae san iksi er nio. allu sadnomker
er pænstarte.. sd.. marsipangrsiene. kan vi. det men. kan vi. ola gi ham
en kniv og han skal arve jorden. Maskinisten Vi trenger en ny person. Jeg
kan ikke si det. samme om. is be to what known. known is to be what. Mord
ni La palindromet dø fort av Heiro T. Si. hlanimirk Hun Emma. eo.. får
spesiell oppmerksomhet.. hun følte det var feil å gå rundt med den
hudfargen. ks.. Stress. Problem å brøle. Bra (N) Agnes ... Karen er en
hver gang var det fantes. før. hvor fins det umoralske i en ooo.. hvor
fins det umoralske i en OOO.. hvor fins det umoralske i en OOO.. eo.. Jeg
sa KosteKari kuppet Ottarmøte. bevissthet. lever som ikke nok så god mat
så ble du si Hei. Gepolon Chromofeelion. fitte cosmetics family for women.
cosmetics families for men and women. eo.. ContentDisposition inline
filenamemessagefooter.txt.
gmisutulnotkten.atameonptthtpnmtntktnltsmkkmstlntktntmnpt. Hva Å.... Hva
Å.... eo.. sammen inn i kjøkkenet til mor.. sammen inn i kjøkkenet til
mor.. am.. pustar og har piggar.. . Piggsvinet søv vel.. Samtidig. e come
with me w d ie w hat. w d e a. l. le f what. gn.. Jeg gir deg markøren.
Jeg gir deg markøren. Jeg gir meg over. Tunpisreo Bochecon. fellow bef. me
felowe felawe late oe folaga on flagi. alle eter gravalks oa slten hoper
stolen søs alles kløve. ididot mama. eller er det slik å forstå at jeg
også. like byzantium but there are mosaic tiles. debug. Social bluescreens
on the other hand are. almost impossible to. am.. Strekker ut n hånd.. Det
går med staven.. Det tok makten frå han.. jeg visste det ville skje. du
har fremelsket et ekte karaktermønster.. tankebilder. Blander sammen. Vi
anbefaler at sønn sønn ikke snakker mere til deg.. oei nirly them hvite
kisgh seo shoesf. THE B ACK S FENCE HUN VAR DRUNKED ED E. L O HECN. gn.. .
syndicate open index. . ks.. ok. skjønner. basusjernet. Faen i det er
studenten utstudert. Hvorfor det. ks.. rundt uten bagasje og speiler seg i
kamera framfor. kjøpesentra og urinnvånere. for most of the other's posts
in fact it's a big mess. maybe you. yeayeah thanks. btw i uploaded some
files of digested wryting material and. others to the. . (ascoo) spaam v
by .... krabbe framovers fall.
111
Avbøyning. KLOTMOS Sidens vevslag. matteboka. Eg skal vise han grafar eg si
Ola og kjøyrer. kniven i. dj shorty er en kringle. DJ morra di ja. maria er
du er du har skylda for Exphil studenter bra. gamlemor. Erritzaz Gorkenhe.
gn.. Shot me tender. Hjertekurvsukk under misteltein Balder er død. eo..
..ru.s og ...når kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot
sexuelt overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne
sliper mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min.
Skone Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil
på radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg
sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret.
Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade
knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a
multipart message in MIME format.... troubled and confused at heart.. Lenet
Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga.
ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen
øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... .
(ascoo) health insurance with any preexisting. conditions y gqeqyrz jx.
sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk.
forseggjort kappe rekker hånden dørhåndtak er på vei ut. ikke så
menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto. kulturjamming
versus realitytv som et vrengt forhold. virkelighet. ve. st. virkelig hva
er da virkelighetsstatus. gn.. Therese Therese Therese. Therese lukker
døra til å stå på baken.. avel saken er jeg kjenner type som sa den
replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han var
søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig mener
Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet deres helt
sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa Gisken som etter
sagnet bodde der for noen. hundreår siden. Fra. am.. vertigo but it's
actually readable in norwegian. nothing is. gn.. ioma. ger oss rollar.. ec
sotta inn eån annunsi i fenmnerson os te sperde.. gn.. feardg morgen ....
Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst.. Vetaiyar Erphtoa.
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra
mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe.
lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på
armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal
maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen..
Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta..
Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd..
kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel
malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd..
ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE.
Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og
med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre
sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka
også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til
faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac
Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker
du. maria forplantningsorgan medens prinsesse danser naken.. d.
Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer
dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E
bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg
tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg.
slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls.
hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i
steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han
strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter.
hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg
selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir
pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd..
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112
Ctoptheo Tinmeta. am.. Gud. Ola Bibelen har du lest.
I.......I.......I....B.....B...E.......G.........G....Y...N......N......E..L....L..S..EN...(...
trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble.. til ulykker. Ingen vet hvor mange som har funnet sin grav. der..
. henvist til de private venterom. åndverk forbruk håndverk underholdning.
together as a group practice ) then our dialogue. and lastly i state. The
artist group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles
leccan whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . ..
... . ... fdssf sdf sf sdf sdf sdfd n h aaf. afdbcadcfbbdec. t.
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love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. .. greybox. bin pack kiosk wrap floppy
components composition. blackbox contexts providing too little information
and white cubes. revealing too much we need to go for a middle ground which
we may call. greybox contexts. a grey box reveals parts of its internal
workings. not just relations between input and output. the information can
become. as detailed as necessary where needed for instance to state under
what. conditions external contexts are called. in other places it may
remain. very abstract and simply state a condition that is established..
what is needed is a language that allows to reveal as much of an.
implementation as is required to use a context but not more.. OPEN OPEN
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of the texts without permission. fragments of a history of art ( timespace)
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participating in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today.
.. ..(today.. .. thextyle. nteressert i. Det. nteressert i.. Det er. en
medlidenhet. etterpå fakta. bør går. et til. ankomst frem. på et. svar i
og. sammen med. at fakta. allerede stenger. endelig. endelig
114
arbeid i. plnteressert i.. Det nteressert i.. Det er. en medlidenhet.
etterpå fakta. bør går. et til. ankomst frem. på et. svar i og. sammen
med. at fakta. allerede stenger. endelig. arbeid i. plan. Hva. hennes
fremstilling. drar edged. på forfededre. I ingen. kopi har I. ingen fått.
materie. Så. der. posisjonsutgivelse for. interessert gruvedrift. plan er.
seg selv. en typer. apparition kan. en interessant. reise men. I håp. slik
ellers. og adlydelse. av en. dialog sammen. med Very. mye til. punktet.
om. fakta drar et.. Og om. fakta er. omtrent kommer. fram gå. et ..... Så
lang. I ingen. materie an. Hva. hennes fremstilling. drar edged. på
forfededre. I ingen. kopi har. I ingen. fått materie.. Så der.
posisjonsutgivelse for. interessert gruvedrift. plan er. seg selv. en
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ingen. materie vender. mitt. It is a. pity afterwards. facts ought. elapse
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en. medlidenhet. etterpå. fakta. bør går. et. til. ankomst. frem. på. et.
svar. i. og. sammen. med. at. fakta. allerede. stenger. endelig. arbeid i.
plan.. Hva. hennes. fremstilling. drar. edged. på. forfededre. I. ingen.
kopi. har. I. ingen fått. materie.. Så. der. posisjonsutgivelse. for.
interessert. gruvedrift. plan. er. seg. selv. en. typer. apparition. kan.
en. interessant. reise. men I. håp. slik. ellers. og. adlydelse. av. en.
dialog. sammen. med. Very. mye. til. punktet.. om. fakta drar. et.. Og.
om. fakta. er. omtrent. kommer. fram. gå. et. ..... Så. lang. I. ingen.
materie. vender mitt. It is. a. pity. afterwards. facts. ought. elapse.
an. to. advent. forward. at. a. answer in. and. along. with. that. facts.
already. am. shut. down. at. last. work. in. plan. What. her. exposition.
goes. edged. at. ancestors. I. nobody. copy. have. I. no. matter. gotten..
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apparition. a. interesting. journey. may. but. I. hope. so. can be.
anything. else. and. abiding. a. dialog. along. with. Very. much. to. the.
point.. about. facts goes. an.. And. about. facts. do. be. about. appear.
to. elapse. an..... Saw. long. I. no. matter. turns my. A genre
pseudoulipo eg. palindromes that only look like palindromes. As AM. notes
there are. special characteristics in syntax which should be simulated in
pseudoulipo.. There should. also be a pseudoulipo group.. ..(today.. Thank
you for participating in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY..
..(today. .. ..(today.. .. windowsQDhexture. h C F s. . . . . . og. h C .
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C C E lling. . . . . .. ah drar. . . . . .. syndicate Re minutes of
conquests Rethinking Wargames e k u n s t. droplifting. This is a
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postkort. A bizarre surreal and potent antiwar film JeanLuc Godard's. LES
CARABINIERS is a complex. tale of two riflemen who travel the world in the
service of. The King. Recruited by two. other members of the army
MichelAnge and Ulysses leave their. wives Cleopatra and Venusto. wander as
far as Egypt and the US killing and torturing. innocent victims for their
unseen. leader. Full of the innovative editing techniques and.
intellectual vigor that punctuates. almost all Godard's films LES
CARABINIERS finds Godard playing. promiscuously with imagesand. ideas
including favorite preoccupations such as the. destructiveness of
capitalism often. presenting ideas and opinions that are forgotten almost
as soon as. they are articulated.. Beautiful complex fascinating and
frustrating LES CARABINIERS is. vintage Godard.. .... with Godard going to
great lengths to develop unsympathetic characters. and distance the
audience from the onscreen proceedings. He. purposely shot the film on a
grainy film stock then made it. even grainier in the processing yielding
an oldnewsreel. effect and even incorporating actual stock footage into
the final. film. After the first hour however comes a remarkable.
Eisensteinian montage consisting of minutes of. conqueststhe postcard
sequence. In LES CARABINIERS Godard. succeeded in portraying war as an
ugly and ignoble. atrocity in a manner entirely different from what he
has. called the beautiful Zanuckian style. If LES CARABINIERS. cannot be
called a compelling dramatic work the film represents. a liberating step
beyond cinematic convention.. THE SMTP CSEQUENCE. Simple Protocol Art
Mail. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
arc.hive Re fragments of a room. To arc.hivelm.va.com.au
arc.hivelm.va.com.au. From loy.. SubjectRe arc.hive Re fragments of a
room. when i read it out loud. i only heard the sound of a window a chair
and a table. jUndwth fachairandwamTabwherif.f.t. ..feitamthrifeatifw.
iaTabchairifo.whsdiandwawrth. fandTabechairifchairif.njUndowTab.
techairifewh. TabwhnTabe.nTab. amth. ha.ramTab.ndowndowamth. nhstont.
nth.sneiaTab. dinat.t. oudamTabeinTabandowawheadiradth. on.tatn. h famth.
.... Very beautiful.... This is like Alvin Lucier's acoustical piece 'I am
sitting in a room' re. recording his selfreferencing spoken words ...until
the resonant. frequencies of the room reinforce themselves so that any
semblance of my. speech with perhaps the exception of rhythm is destroyed.
What you will. hear then are the natural resonant frequencies of the room
articulated by. speech..... groetjes. Bjarnir. arc.hive mailing list.
arc.hivelm.va.com.au. Re this is a picture not a statement.. this is a
picture not a statement.. The problems are with. the dualisms where the
name of absurdity once the picture this post and. what comes in. through
the eye or from it like 'this. Just enjoying r. smullyan's. Just enjoying
r. smullyan's. Just enjoying r. smullyan's. what's the liar paradox and
what comes in. through the logic is nice and logic at least classical.
doesn't. what's the interaction turns into an exploding dynamic time
things. are. exploding and selfreferenced strange loops so i'm. what's the
picture this book with an open system and its paradoxes.
pictureasstatement. and vice versa in a picture. something to or in any
sense as they can. like trees explode slow matter turns into. structure
chaos into order given an open system and its paradoxes.
pictureasstatement. and vice versa in any sense as a statement it's.
what's the problems are with. the dualisms where the picture this is is a
picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
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.YMM. HH . .. YYNM. HH . .. YYNM. HH . .. YYNM. HH . .. YYNM. HH . ..
YYNM. HH . .. YYNM. HHH .. .UNM. HHH .. .UNM. HHH .. .UNM. HHH .. .UNM.
HHH .. .UNM. HHH .. .UNM. QHHHU. . .. ...DHMM. QHHHU. . .. ...DHMM. QHHHU.
. .. ...DHMM. QHHHU. . .. ...DHMM. QHHHU. . .. ...DHMM. QHHHU. . ..
...DHMM. QHH Q .... ..YAUDDHNNN. QHH Q .... ..YAUDDHNNN. QHH Q ....
..YAUDDHNNN. QHH Q .... ..YAUDDHNNN. QHH Q .... ..YAUDDHNNN. QHH Q ....
..YAUDDHNNN. DQHH QY. . .. DQHH QY. . .. DQHH QY. . .. DQHH QY. . .. DQHH
QY. . .. DQHH QY. . .. .YQHUHH. .YQHUHH. .YQHUHH. .YQHUHH. .YQHUHH.
.YQHUHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ...
.YDHHQHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ...
.YDHHQHH. ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ.
ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ. AHMMNUA..
.AQQQHNQU. AHMMNUA.. .AQQQHNQU. AHMMNUA.. .AQQQHNQU. AHMMNUA.. .AQQQHNQU.
AHMMNUA.. .AQQQHNQU. AHMMNUA.. .AQQQHNQU. AHMMNUUY....... ..
AHMMNUUY....... .. AHMMNUUY....... .. AHMMNUUY....... .. AHMMNUUY.......
.. AHMMNUUY....... .. DUHHHNQU. DUHHHNQU. DUHHHNQU. DUHHHNQU. DUHHHNQU.
DUHHHNQU. HHHHHNNNNNNNNNNHHNNNHHHHHHHH. HHHHHHHHHNMMMMNNNNNHHNNNHHHHHH.
HHNNNHHHHNNNNNMMMMNNNNHHHHNHHHHHH. HHHNNNNHHHNNNNNNNM. MNNNNHHHHHHHHHHH.
HHNMNNHHHHHHNNNMMNNHHNNHHNNNHNMN. NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM.
NNHHHHHHHNNNNNMNNNHHHNNNNNNMM. HHQUUQQUAUHHHNHHHHHHHNNNNNNM.
DDAUQQQHHHHHNNNNNNM. .DAUQHHHNNHHHNM. ..AQHNNNNHHNM. QHNNNNHNNM.
.YUNNNNNNNM. .NNNNHNM. . .YYAHNHHM. YY. YYYDQM. . YYUD.M. . Y ... .DY.NN.
...... . .YMM. HH . .. YYNM. HHH .. .UNM. QHHHU. . .. ...DHMM. QHH Q ....
..YAUDDHNNN. noemata Fwd It all begins with a few simple words on the
screen. . .. ligner på røverspråket. jojegog totrororor dodetottote eror
rorøvoverorsospoproråkoketot totilol. gogjojesostot. Start of forwarded
message. Fwd It all begins with a few simple words on the screen. . .. ns
thenoe sens bebegegiginn t toto ththihiningng s w wiwitithth ththehe. isis
s cingng thougughgh he omes o of ththehe e m memesessssasagagege e s. se
toto e o only y a a paparartenc uningng memeteth ofof on isis. graradallly
seseeingng g ito ththehe e t exextingng t a annd reaingng g t. ththeem
parartrtirtsth to ts is seseeeem toto be haeniingng g m anandnd. momorore
asas s t ththehe e t tetexext becomomemeses s i increreaeasingly. frent
anandnd isis s ted d i inintntoto segmemenentts s t ththahatat t are.
essss anandnd lelesessss s c cocomensle t a alo straly loal inin.
sosomomeme e i inndeblele e whe e pcesessss s s seseeeememsms s t toto o
h. hahavaveve e a a hisisty a anandnd d a anan tioionry gr even n i itts s
on. s sort ofof hapse so ss st sy ou reread o onon anandnd d o onon n u.
ununtntitilil l y yoyouou an rereaeadad no o m momorore anandnd sttilll l.
y yoyouou u r rereaead inin n s se ofof sosomomeme kinindnd d o ofof f l.
lightht t aat t t ththehe enendnd d o ofof f t ththehe e t tuelyle ll ly
ut. nono liligighghtht isis s fortrthcomomimining anandnd
ththihiningngsgs. noow ononlnlyly y s seseeeemem m t toto o b bebe ingng
frfroromom ad d t. toto woworseaseesegsense ed el em en es ew ou
mamakakeke e o onne e lst. alint forortrt t a atat unundndederrstandingng
hatat t i isis s g. gogoioiningng on asas yoyouou no waantnt t t toto o b
bebe e aseded d o. ofof beingng a la rereaeadderer whho isis s w wollyly
unillingng g t. toto ve e t ththehe e m modern t tetexextxt t i ititsts ea
eb ec ed ee ef eg. eh ei ej ek el em en eo ep eq er es et eu ev ew ex ey ez
e ut t f. fifininaallllyly yoyouou eldld d a anandnd d t tutururnrn n
awayay y f. frfroromom m t ththehe e t tetexextxt t i inin n s
seseaeararcrchch h o ofof. f l lelesessss s f frstrtraatitiningng g m
memesessssasagagees s t toto. gesingng ba ononlnlyly nonowow anandnd d ain
n t toto o s seseeee e i. ifif f a anthihiningng haas s cangngeed do ds nd
d t ththehen toto yoyou. asaststomenent ththihiningngsgs s d dodo o s
seseeeemem m t toto o b bebe. chchahanangginingngenginglngsng ge gh gs
lilinne e h hahasas beeenen sed. anandnd whle yoyouou ararere unre e a
asas s t toto o w wheththeer. ththihisis s c chchahanangngege e i isis s i
inin yoyouou r t ththehe e m. memesessssasagage ththihiningngsgs s d
dedefefifinelyly dodo o s seseeeemem. m t toto o b bebe e m
mamakakikiningng sesenensnsese e a. agagagaiaininaincindineinginiinsintin
na nb nc nd ne nf ng nh ni nj nk nl nm. nn no np nq nr ns nt nu nv nw nx
ny nz n hateveer r w waas s c casiningng g. t ththehe e t tetexextxt t t
toto frfraragagmgmemenentnt t b befororere e i. isis s n nonowow
losiningng g t ththehe e b bale e a anandnd d a a a f. fofor ofof
meniningng g i isis rereaeassseserrtitiningng g i ititsselelflf. ithth h a
a sesenensnsese e o ofof reelief yoyouou siighgh h a anandnd d. a alallow w
t ththahatat t t ththehe e s ststrle e i isis s f. fifininanalallllyly y a
atat t a anan n e enendndendind. m. End of forwarded message. unsubscribe
from this group send an email to. Re Vs noisetext (unknown). Great I've
been looking for an engine to do these bitmapchar conversions. ever since.
seeing Florian Cramer's portrait. Of course there's been typewriter
paintings. etc for a. long time my girlfriend gave me one once and it's
hanging right here on the. wall of the. library room baby jesus and virgin
mary done with a mechanical typewriter.. Jukka. Actually it's a bgascii
rendering of a classical chinese landscape painting. Kuo Hsi (ca..
Paradoxically the huge white spaces of the painting renders as thick char.
stream while the. solid mountains renders as whitespace.... insert
statement on information entropy. B. Original Message. Bjrn Magnhilden.
Tuesday February PM. noisetext (unknown).
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DAAAAAAAAAAAAAAAAADAAAAAAAAAAADADDLDL(AAAAAAAAUUAAAAUAAAAAAAAAUUAUAAAAA.
AAAUAUAAUUAAAAUAAAAAADALUAAAAALADADAQQADAAAAUUUAUUAAAUUUUUUAUAUAUAUU.
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AAUAHAAAUUAAAADAADDADADFDDDLLD)DJNHQQNHQQAAA)DUUUQQQQQHNHAAAAD.
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HNHHHNNHNHNQUQQQQQUUUQUQQHFALQQUAAQQHQQUQQHUQUA FUQQQUU.
NHHHNHNNNHHHHHHHQQUAU)QUAQQQQUQNUQUQHUQQUUUALQQQQUU.
HHQQNHHHNHNHHNNHHHHHNQUFUUUUFQQQQHQQHQQQQQUQJAJAA. unsubscribe from this
group send an email to. unsubscribe from this group send an email to.
noemata Fwd It all begins. . . vers. Mer stroboskopisk røverspråk. fra
Buffalo. Start of forwarded message. Fwd It all begins. . . vers. TH ES BE
BEG EGI GIN NT TO TO TH THI HIN ING SW WI WIT. ITH TH TH THE HE IS IS SC
ING NG TH OUG UGH OME SO OF. TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE
TO TO EO. ON LY YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. IS IS GRA
RAD ALL LY SE SEE ING NG GI TO TH THE HE ET. EX EXT ING NG TA AN REA ING
NG GT TH THE EM PAR ART IS. SE SEE EEM TO TO BE HA ING NG GM AN AND ND MO
MOR ORE. E A AS AS ST TH THE HE ET TE TEX EXT BE COM OME MES. ES SI IN CRE
REA EAS ING LY FR AN AND ND IS IS ST ED. DI IN INT NTO TO SE GME MEN ENT TS
ST TH THA HAT AT TA. RE ESS SS AN AND ND LE LES ESS SS SC CO COM ENS LE TA.
AL OS TRA LY LO AL IN IN SO SOM OME ME EI IN NDE BLE. LE EW .T TH HE EP CES
ESS SS SS SE SEE EEM EMS MS ST. TO OH HA HAV AVE VE EA A HIS IST YA AN AND
ND DA. AN AN TIO ION RY GR E EV NI IT TS SO NS SO OF OF. E HAP OU RE REA
DO ON ON AN AND ND DO ON ON NU UN. UNT NTI TIL IL LY YO YOU OU AN RE REA
EAD AD OM MO MOR. ORE RE E A AN AND ND ST TIL LL LY YO YOU OU UR RE. REA
EAD IN IN NS SE OF OF SO SOM OME ME KIN IND ND DO. OF OF FL LI TA AT TT TH
THE HE EN ND DO OF OF FT. TH THE HE ET TU UT NO NO LI LIG IGH GHT HT IS IS
SF. ORT COM OMI MIN ING A AN AND ND TH THI HIN ING NGS GS NO. OW ON ONL
NLY LY YS SE SEE EEM EM MT TO TO OB BE BE. ING NG FR FRO ROM OM AD DT TO
TO WO WOR .Y YO YOU OU. MA MAK AKE KE EO ON EL ST ALI FOR ORT RT TA AT AT
UN. UND NDE DER RST AND ING NG HAT AT TI IS IS SG GO GOI OIN. ING NG ON A
AS AS YO YOU OU NO WA ANT NT TT TO TO. OB BE BE EA ED DO OF OF BE ING NG A
LA RE REA EAD. DER WH IS IS SW WO LLY LY UN ILL ING NG GT TO TO VE. ET TH
THE HE EM MO DER NT TE TEX EXT XT TI IT ITS TS. E. .B BU BUT UT TF FI FIN
INA ALL LLY LY YO YOU OU DA. AN AND ND DT TU TUR URN RN NA WAY YF FR FRO
ROM OM MT. TH THE HE ET TE TEX EXT XT TI IN IN NS SE SEA EAR ARC. RCH CH
HO OF OF FL LE LES ESS SS SF FR STR TRA ATI TIN. ING NG GM ME MES ESS SSA
SAG AGE ES ST TO TO GES T ING. NG BA ON ONL NLY LY NO NOW OW AN AND ND DA
IN NT TO. OS SE SEE EI IF IF FA AN THI HIN ING NG HA AS SC. ANG NGE .A ND
DT TH THE HEN N TO TO YO YOU AS AST STO. MEN ENT T T TH THI HIN ING NGS GS
SD DO DO OS SE SEE. EEM EM MT TO TO OB BE BE CH CHA HAN ANG GIN ING .A LI.
LIN NE EH HA HAS AS BE EEN EN SED D A AN AND ND WH. LE YO YOU OU AR ARE RE
UN RE EA AS AS ST TO TO OW. WH ETH THE ER TH THI HIS IS SC CH CHA HAN ANG
NGE GE EI. IS IS SI IN IN YO YOU OU RT TH THE HE EM ME MES ESS. SSA SAG
AGE E T TH THI HIN ING NGS GS SD DE DEF EFI FIN. ELY LY DO DO OS SE SEE
EEM EM MT TO TO OB BE BE EM. MA MAK AKI KIN ING NG SE SEN ENS NSE SE EA AG
AGA GAI AIN. N. HAT EVE ER RW WA AS SC CA SIN ING NG GT TH THE HE. ET TE
TEX EXT XT TT TO TO FR FRA RAG AGM GME MEN ENT NT. TB BE FOR ORE RE EI IS
IS SN NO NOW OW LO SIN ING NG. GT TH THE HE EB BA LE EA AN AND ND DA A AF
FO FOR. OF OF ME NIN ING NG GI IS IS RE REA EAS SSE RTI TIN ING. NG GI IT
ITS .W ITH TH HA A SE SEN ENS NSE SE EO OF. OF RE YO YOU OU SI IGH GH HA
AN AND ND DA AL ALL OW. WT TH THA HAT AT TT TH THE HE ES ST STR LE EI IS
IS. SF FI FIN INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. End of
forwarded message. unsubscribe from this group send an email to. noemata
Fwd Nettimebold unstable digest vol. Start of forwarded message. ReplyTo
nettimeboldnettime.org. Fwd Nettimebold unstable digest vol. msg
positioning. u.r.in.the.making. .. Slession Start Thu Feb. Lesion Ident
silocyben. short intervals. notify m.Sages.. .. fit.tingle in ah narrow
acceptability niche.. take me off. i'd pre.furr that.. no realli.. hassle
u. irc.. heh. .. provide some type of per.server entertainment value.
providing. per.verse. pre.serve. .. dam.nation ls sleep dep.ri.vat.ion. i
make no apologies for that. come in prettyhatemachinebite.size.packages..
ppl hassle. i do.. it's wonderful.. .. hmm. bcitatione sized. ). silocyben
nibbles.. D. ok.. silocyben smacks lipids.. msg moment intentionally
causality. msg i'm done.. heh. anyway. in.tensiontionally cruel IRC.
slecherousxual d.pgravity. scroll notify.. Ffort manually. what. fthat..
who nos really. heh. msg would kill u). don't thlink u understand.. no..
good.. it's better that way.. heh.. yes.. msg look. .. feel free Nlighten.
what i understand u don't.. k.no.w talking. no. should i. damn.. ). no..
grin. ). ok.. so.. f.eeling free. message with). we've covered the fact
that. possibly quit.. ete.. n.deed. ho hum.. ho hum.
116
pickup multi.logue. hmmm. yes.. i mlean wards ghosts. loving.. heh.
Suriname parity u r). i'm thinking that. combination of facts. anywhere..
in the realty of go.. oh way more than that.. realms even.. way more.. u
st.. NlightN me.. nono u must NlightN me. urm.. i can't.. Xcept to say..
.. .. hmm. and.. msg i want.. ehehehe. .. but. a.part from that..
silocyben scratc.his.head.. fighting Nlite. k need . able . though.. do..
yes indeed.. msg worried. msg about. msg obsession.. but.. msg X.. msg
former. notify aint work.. away latter.. away waste.. .fuck.. hmm. talk
POV. .....away money. mmm. .....talk nor.... away u. needed it.. growth ur
own. panick ed because. msg dislocation lies. msg tied up with .. i used.
ic.. much mulching.... sniff basic portioned. scratch like a th..
.....left wingth. es. yes. trauma she.is.all.i.have msg
in.terms.of.active.affectivity. yes. i unda.stood.. and unda.stand.. ..
lvl sameness. shrug.. accountability. gagging pay job. BUT. y. stress
basalt in all corporatecapitalist Ndeavours. i HAVE. didn't he tell u.
sent. oh.. cool.. none week.. ahh. k np. descent.in..nether.hell.. well.
.. actually. crazy problems heart.. figorey that. then. in rl. .. wow.
story. jesus story wot.do.u.want we played quake gether.. ). that will do.
story tellerinvoker. ). laugh and there r p.lent.y of tell.. anyway. i'm
sure. snip tell stories.. the lose driven slough.. noNticed. dilemma. oh.
yes yes.. ho.ur.. yes indeed. s.. msg positioning. u.r.in.the.making.
..in.finite capacitys goalrelationalbelief. structuremighty uphold..
tem.portation is far. ..... wallow in consumerist.muck. ....type . align
getgos socialb.lather. .. sense. ). right.. u're.. i'm sure i am.. slash
simplistic.. .. grin. i don't.. no u don't. nor. i already.. ok. well. y
make.. ....says much. anyway. i'm tired. bitesized day bIT). i have.. yes
u do.. off.. Added to notify list. no apaty and awareness.. h.. k.. if u
say so.. sigh. Session Close Thu Feb. Lession Start Thu Feb. Session IDent
silocyben. think nature. completingx Ntree.catesimperinglistic.. nature as.
system of. ecological function. ball N batance thru.. i am.. nature dfined
bye romance. ideal of butterflies victims. prey and bloodlust. ahh.
naturefact. .. s.. u. chuckle. centric. anyway. but what r. goals
fargoish.. i am.a.silly.undefined.soul in a c of centuries. wish
disappointed.. so.. ahh no. come inside with rt. with bod.EE. laugh.
....eyes. .. he.. words cauterize. cause even. cya.. s.lump. heh. .. bye.
hmm. d.ee.p.ends. stretch props blood flow.. hmm. hands. neglect.. speak
softly. thru the size of my large hands. large joints.. hmm. voice. yes. i
thought so.. or. simplicity is boiled from the need to x.tract and d.limit
complexity. sometimes the problem becomes the complexity to survive the.
simplicity of others.. c a t c h. or the problem hides i the folds of
simplicity N order deny. complexity. n. mmm.. we are walking on different
foundations.. we r. creeping thru semantic jungles. ). ). tactility above
all else. no causality in solid shapes. logic definer. momentary pleasures
theorizing via strands of cartesian dynamics. Added silocyben to notify
list. Session Close Thu Feb. protein.logging.txt. sparks of lost hubrisman
centre.sieved. ..(today.. Thank you for participating in MAILING LIST
SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. .. LE TEXTE ET
LA MACHINE.. LE TEXTE ET LA MACHINE.. Decembre. Pascale Gustin. Licence
GNU General Public License. Je crois que l'ordinateur et de manire plus
gnrale les technologies. de l'information transforment de faon radicale
notre rapport au monde. et nous mme. C'est mme devenu un lieu commun de
dire cela. aujourd'hui c'est devenu un truisme. Paradoxalement mesurer.
l'importance et les consquences de ces changements est loin d'tre. simple
cela ouvre mme de nombreux champs d'investigations et de. rflexions qui
depuis environ ans font l'objet de recherches de. plus en plus diversifies
dans des domaines toujours plus tendus. Je. pense l'instar de Pierre Levy
que l'outil informatique est une. dcouverte au moins aussi importante dans
l'histoire de l'humanit que. celle de l'criture elle en est probablement
mme la continuit en. poursuivant le processus d'hominisation de l'homme ..
J'aimerais par ce texte explorer de manire tout fait personnelle la.
naissance de l'outil informatique du point de vue du texte et de.
l'criture. Je ne prtends pas ici un essai exhaustif sur le sujet. mais
seulement rassembler quelques rflexions et notes de lectures. qui
m'apparaissent pertinentes. Selon le procd d'une pense. analogique je
souhaiterais former un ensemble cohrent de rflexions et. d'ides dans la
continuit de ce qui mon sens me parait trop peu. questionn actuellement
mais non pas moins important c'est dire le. problme de l'criture en regard
de l'outil informatique et la faon. dont mon avis celuici transforme et
remet en question de multiples. manires la notion mme de texte.. L'criture
le code le texte.. L'criture est la premire technologie d'enregistrement de
la parole. constitue de symboles d'images ou de signes elle est un systme
un. code mis en place afin de pouvoir garder trace du langage parl. De ce.
point de vue l'criture est un code certes relativement souple qui. encode
la ralit et tout la fois en transforme et en remodle la. perception. Un
des tous premiers systmes d'criture que l'on ai. retrouv est l'criture
noeuds systme d'inscription. mnmotechnique et synthtique. On en a dcouvert
des traces au Prou. dans les tombeaux Incas par exemple. Ce sont des
paquets de noeuds et. de fils attachs de couleurs diffrentes ou semblables
placs de. manire obtenir un grand nombre de significations. Ces. quippus
servaient enregistrer les comptes la chronologie il. tait possible
galement de s'en servir comme d'un moyen de calcul. On. retrouve cette
forme ancestrale d'criture partout dans le monde et. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. encore utilise par les
ouvriers afin de comptabiliser leurs journes. de travail .. L'criture dans
son essence apparat alors comme un systme de. diffrences. (J. Derrida et
Saussure). Le codage binaire a t utilis sous une forme symbolique trs tt.
en chine avec le systme divinatoire du YiKing. Le YiKing est un. ensemble
de hexagrammes constitus d'une collection d'images. symboliques
reprsentatives d'un certain ordre de l'univers et tait. utilis pour
procder diverses interprtations divinatoires. Ces. images symboliques
rsultent de l'assemblage et de la combinatoire de. traits pleins et de
traits briss reprsentant les deux tats. essentiels par lesquels chaque tre
et chaque chose sont appels se. mouvoir et se transformer. Mais c'est le
philosophe anglais Francis. Bacon () qui fait de ce principe binaire un
systme part. entire afin de pouvoir transmettre des messages de manire
rapide et. sre .. Dans ce sens le code l'acte de coder un message serait
en somme la. transcription de celuici dans une langue nonnaturelle.. Mais
le mot de code se drobe mesure qu'on souhaite en saisir le sens.. A
l'origine du mot nous trouvons le codex c'est dire la. planchette le
recueil nous avons galement le code juridique qui est. l'ensemble des lois
qui rgissent une socit signification qui n'est. pas sans rappeler la
programmation puisqu'ellemme est rgie. par une syntaxe un ensemble de
rgles auxquelles on ne peut droger. d'aucune manire sous peine de planter
le programme. Nous avons. galement le code vestimentaire ou le code
gntique. Le code serait. en quelque sorte un moyen de conservation et de
transmission. d'informations un support de significations non
spcifiquement humain.. L'criture pourrait tre une sorte de code plus
souple o le. sens est tiss de diffrentes manires les lettres avec les.
lettres une une ou par grappes les mots ensembles pour former des. phrases
et les phrases tisses les unes aux autres interagissant les. unes avec les
autres au cours de la lecture nouant liens de sens et. de significations
afin de former le texte. On utilise l'expression le. fil de la lecture ou
au fil du texte pour parler de cet cheveau du. sens qui prend forme au
moment du dchiffrement. Le texte est une. trame de significations dont les
fils se croisent et s'entrecroisent. entre les lettres ellesmmes les mots
les sons dans le texte et. entre le texte et le lecteur.. Le mot texte
vient du terme latin texere qui signifie tisser.. Une autre dfinition du
mot peut tre. un nombre fini de signes discrets choisis dans un ensemble
fini. de signes (Florian Cramer).. Les machines.. Une des toutes premires
utilisations technologiques du langage binaire. a t dveloppe par Jacquard
() afin d'amliorer la technique. du tissage.. Il s'agissait de cartes
perfores de trous c'est dire de. l'utilisation des pleins et des vides des
cartes pour coder le passage. des fils de couleurs diffrentes dans les fils
de chanes. La. technologie du tissage a toujours t l'avantgarde des
techniques de. son temps mme aux poques les plus recules au moyenage on.
utilisait dj des cartes ralises sur du papier divis en damier pour. la
reproduction des dessins.. Charles Babbage () initiateur de la machine
diffrentielle. et plus tard de la machine analytique connaissait les
travaux de. Jacquard dans le domaine du tissage et eu cette intuition
fondamentale. d'appliquer ce principe en quelque sorte combinatoire des
diffrents. ils entre eux au calcul selon une mthode semblable. Ada
Lovelace. () collaboratrice de Charles Babbage ft charge de la partie.
logicielle de la machine c'est dire du texte (au sens large du. terme) qui
devait permettre la machine analytique de fonctionner. Mais. le projet
n'aboutit pas faute de moyens et probablement aussi. d'organisation .. Les
machines telles que les ordinateurs actuels ne peuvent. fonctionner ne
peuvent comprendre une serie d'instructions que si. cellesci se trouvent
crites sous la forme de suites de et de ou. plus exactement sous forme de
squences trs rapides d'impulsions. lectriques une impulsion reprsente une
connection c'est dire le. l'absence d'impulsion le . Un ensemble organis
de et a donc. un sens pour la machine c'est dire un sens lectrique. Le
terme. de sens n'est peuttre pas tout fait appropri pour parler.
d'instructions que la machine programme dans ce but effectura la. machine
n'interprte pas le programme ou les instructions entres dans. le
processeur elle ne fait que les excuter.. La rapidit avec laquelle le
courant circule entre les diffrents. lments de l'appareil informatique
(lie la vitesse d'horloge du. processeur) offre des possibilits quasi
illimites de calcul. (quantits de connexions et d'absences de connexions
de et de de. plus en plus importantes dans des laps de temps trs courts).
Ainsi. nous pouvons en tant qu'utilisateur de machines et de programmes.
charger des images l'cran les dupliquer ou les transformer faire. jouer
des sons ou bien crire des textes que nous rentrons dans la. mmoire vive
de l'ordinateur. En quelque sorte ces suites de et de. sont le seul code
ou alphabet avec lequel nous pouvons utiliser l'outil. informatique.. Les
premiers ordinateurs taient en quelque sorte programms en. direct l'aide
de fiches et de fils relis ensembles.. Si la fiche est connecte le courant
passe la valeur est donc. l'inverse l'absence de connection prend la valeur
. Pour faire. fonctionner un programme il fallait donc connecter une une
des. centaines de fiches et de fils entre eux. Le temps de mise en route.
d'un programme tait trs important les erreurs frquentes et. pnibles
retrouver. On devait suivre chaque fils pour. voir o il tait reli au
milieu de paquets de fils entrelasss les uns. dans les autres.. Plus tard
dans les annes et les fils lectriques seront. remplacs par des valeurs
situes en mmoire .. Les ingnieurs imaginrent ensuite un moyen de
simplifier les oprations. de programmation. On substitua un ensemble
d'instructions un code. dit mnmotechnique plus facile retenir. Ces
premiers langages. permettaient d'effectuer rapidement des taches
complexes sur. les machines mais restaient encore malaiss d'utilisation
car trs. proche du code de la machine (exemple le langage assembleur)..
Peu peu les langages devinrent plus performants. L'utilisation des.
premiers compilateurs firent des machines des outils plus souples et.
faciles utiliser (avec le fortran). De vritables mots furent. employs et
les instructions au fur et mesure de l'volution des. langages devinrent
plus comprhensibles pour l'homme encodrent des. algorithmes entiers et
rendirent ainsi la conception. des programmes rapide et efficace..
L'arrive des interfaces graphiques donnera par la suite les moyens. tout
utilisateur noninformaticien d'effectuer facilement rapidement. par
l'intermdiaire de l'cran graphique des taches compliques. prprogrammes..
Le code de la machine le texte en quelque sorte se trouve alors. dissimul
sous des couches logicielles mais c'est toujours un code une. texture de
calcul de et de qui dans les profondeurs de. l'ordinateur officie afin que
les programmes puissent avoir lieu en. surface .. Les langages de
programmation (je pense par exemple aux langages de. programmation orients
objet comme java ou python) les plus rcents bien. que plus proches d'une
part du langage humain et peuttre galement de. la pense humaine (du moins
d'une petite part caractristique de. celleci la catgorisation mais je
doute que cette forme de la pense. humaine soit la plus naturelle l'humain
mais peuttre bien plutt. sa part la plus sociale ou socialise) restent
toujours. malgr tout soumis aux ncessits internes des machines.. Le
langage humain tel que nous le parlons l'crivons met en place un. monde de
significations. Le discours oral est contextualis. Il en est. de mme pour
le texte crit. Une marge d'ambiguit est toujours tolre. et mme presque
souhaitable car c'est pratiquement dans cette marge. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. culturelle
ainsi qu'une prise de conscience de tous les discours qui ont. prcdemment
eu lieu interviennent galement de manire plus ou moins. prgnante pour
celui qui coute ou lit selon la culture qu'il a du sujet. nonc. Ainsi le
sens du texte oral ou crit est un ensemble de liens. qui se tissent de
toute part entre les interlocuteurs ou entre le. lecteur et le texte la
socit la culture les lois etc. Souvent la. comprhension du sens dpasse
largement la structure de base du langage. linaire et squentielle celle du
discours oral ou du texte.. Il en va ainsi de la pense humaine car c'est
partir d'elle partir. de cette matrice que cette texture de liens peut
avoir lieu.. C'est en poursuivant un tel raisonnement que Ted Nelson
labora ses. recherches sur l'hypertextualit ds le milieu des annes avec
son. projet Xanadu (nomm ainsi en rfrence un pome de Coleridge).. Son
prdcsseur Vannemar Buch eu une intuition semblable lorsqu'il. imagina
vingt ans plus tt le Memex MEMory EXtander une. bibliothque de documents
relis les uns aux autres en fonction du. sens que pouvait prendre chaque
paragraphe phrase ou mot de tel ou. tel texte mmoris en regard de tel ou
tel autre paragraphe phrase ou. mot issus d'un autre texte ou d'une autre
partie de ce mme texte.. Conservs sur microfilms spciaux ces textes
photographies ou tout. autre document auraient t accessibles grace
plusieurs crans. claviers et manettes. Une membrane sensible aurait pu
permettre de. photographier et d'enregistrer de nouveaux documents.
L'utilisation d'un. tel appareil aurait permis au chercheur ou l' homme
moderne de. faire face la prolifration d'informations prvisibles en raison
du. dveloppement des instruments de mdiatisation de l'information .. Pour
Ted Nelson la pense humaine est hypertextuelle par essence. alors que le
langage humain la parole ou l'crit ne sont que. squentiels. Ainsi le
langage humain apparait comme incapable de. reproduire vritablement la
pense dans toute sa richesse sa. diversit et son foisonnement .. C'est sur
ce travail cette nouvelle manire d'apprhender le texte. que je terminerai
cette suite de notes et de reflexions car partir. de cette notion
d'hypertexte et d'hypertextualit de nombreuses. possibilits de tissage de
sens et de textes sont mises jour et en. explorer les dimensions et les
possibilits serait l'objet d'une. recherche part entire. J'aimerais
seulement pour conclure amener. l'attention du lecteur que le texte
apparat dsormais non plus comme. quelque chose d'abstrait et d'homogne qui
permet l'information. d'tre diffuse mais comme un corps part entire concret
qui peut. prendre de multiples formes ainsi tre utilis aussi bien pour.
programmer les outils de l'informaticien ou du simple usager de.
l'informatique pour concevoir des programmes que pour les. appliquer. Je
crois que le travail du pote ou de l'crivain s'en. trouve profondment
boulevers. Ecrire ce n'est pas seulement faire un. texte mais aussi ce
peut tre mettre en route un instrument l'outil. informatique se servir
d'un programme (un logiciel de traitement de. texte par exemple) ou d'un
langage de programmation c'est couper. coller assembler telle portion de
texte avec tel autre (un morceau de. programme un lien qui menera une
image ou un son). C'est jouer. galement avec diffrentes formes de langages
car tout ceci mon sens. constitue encore du texte c'est mettre l'criture le
langage. quelque soit l'origine de ce langage en contact avec d'autres.
branches de la communication.. refrences. Levy Pierre. La machine univers.
Editions La Dcouverte. Levy Pierre. L'intelligence collective. Editions La
Dcouverte. Fevrier James. L'histoire de l'criture. Editions Payot et
Rivages. Kristeva Julia. Le langage cet inconnu. Editions du seuil. Breton
Philippe. Une Histoire de l'informatique. Editions du seuil. Plant Sadie.
Tissages du futur tramer ensemble femmes et cyberntique. Connexions art
rseaux mdia. Ecole Nationale Suprieure des BeauxArts Paris. Rossi Serge.
Guillier Franois. Bordeleau Pierre. Every David K.. traduit de l'anglais
par Charles Gigure. Sureau D. G.. Bush Vannemar. Comme nous pourrions le
penser. Connexions art rseaux mdia. Ecole Nationale Suprieure des
BeauxArts Paris. Nelson Ted. pasccsaq. rWxRWXR x. autobuildwheel.
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Thank you for participating in MAILING LIST SUBSCRIBER. SATISFACTION
SURVEY.. ..(todayD. .. ..(todayD.. .. narcissism (ny report). narcissism.
we're speaking for the moment online and offline conversations analy. ses
manifestos signs marches puppetry it goes on and on they're. silent on the
other side use the royal 'we' they include us we're. being led to the
slaughter we're taking the world with us we'll use. weapons of mass
destruction tactical nuclear against the bunkers to. percent of our
weaponry gone astray our own military reports expecta. tions of over
civilian casualties in the name of liberation blair. too the whole lot of
them cold warriors compulsiveobsessives. madmen another futile protest
here they're getting stronger by the. moment our performances are just
that select audiences of hundreds of. millions they can't do anything
we're speaking into our own skin. already the fear's upon us they're
nameless they hide behind acronyms. they lie they fabricate evidence tapes
bin laden's muddy voice. we're supposed to believe all of this we're under
the gun here we're. under warning we're a declared state of emergency
resistance is. futile useless we're bringing out blocks of writing reams
of it to. no avail the only measure that carries weight violence armed.
resistance i'm not up to that we're unused to the brutality of our own.
government help's got to come from elsewhere stunning revelation. bush
cancels elections declares state of emergency he's already. backed by the
army we're allowed to speak our voices give out the. strongest among us
will be taken away you've got to help us you've. seen it all before there
aren't any miracles stock market's falling. construction's down. A legs
and homes. nightmare. A legs and homes. nightmare. sorted out. suck rock.
webartery. nettime nettime. webartery. syndicate. nettimelat. webartery.
wryting. webartery. empyre. ghasa. webartery. avantgarde. harthist.
webartery. dancetech. nettimelat. webartery. harte. rhizome rhizome.
nettime. calls and opps. cybersociology. cybersociology
117
nettimelat. webartery. nettime nettimebold. chart. webartery webartery.
artservis. Re Re hypertext. I actually do buy that form and content are
onewhich is why i. insist on digital content's painterlinesswhen i create
a piece. i want the content to be dynamic i want it to vary...i want the.
content to be a collaboration among the user the machine and. myself.
col.labia naked vacant concept with red M white striped bench.markas.
collaboration.as.d.fined.via.static.proscribed.synergism is BLANK.. this
is why digital writing that doesn't take into account. the computer's
propensity for variability sometimes leaves me. cold.... this is why that
doesn't take into account. the com.person realignmentuter's propensity for
variability sometimes. leaves me. cold.... i feel stuck outside the piece
when the point of the network. is participation. stuck.pigged.and
obtuse.frozen.. protein.logging.txt. sparks of lost hubrisman
centre.sieved. moat tory frown ten. moat tory frown ten. ich real ich real
ten four bunch fen fourteen so coal. tan fatso crabcakes hen peanut butler
plan door tan moor. foreplay bone lip ticks catcher chin da lie nor ana dy
cat puat. tened scream blond. all the or fabkeys please tether ben nat.
duck taker. mate bow dow. bet more don. blow. zen. nappy nappy per hay.
may in yo. may.. clober ben say vin ma hark vest tea blond kevin more tell
coach. bland cure bound head. plug vast NORAD bat buzz bird bun meter buzz.
sneez bleed nose cellophane. biscuit above plan carnivorous pew blue. cart
cut but chen now tall please bar teflon tis cum above who. accord hospital
fake clowns chew hot blues vent ten bet.. Googlism poems. .. she is not
fair to outward view. she is not a beauty even when she smiles. she is
like a woman. she is moaning after anal insertion. she is up again against
the skin of her guitar. she is now her father's daughter. she is e. she is
pulled feet. she is not fair to outward view. she is more to be pitied
than censured. she is talking up a storm. she is spoke here. she is the
darkness. she is growing up. she is dying. she is beautiful sells for. she
is sleeping. she is inserting the finger into her pussy. she is in love
with herself and has made some of hollywood's worst films. she is very
famous in some fetish videos. she is probably the best ever seen. she is
beautiful. she is beautiful and hot. .. he is one of the top actors in the
world. he is not afraid to fly. he is coming. he is in love with her wants
to leave his wife. he is risen. he is us. he is pained by occupation of
jerusalem. he is currently waiting for a lung transplant. he is induced or
persuaded by law enforcement officers. he is outraged by enron outcome. he
is consulting with congress. he is not allowed to comment on what happened
because it is a security. matter. he is here. he is one of the top actors
in the world. he is decorated boris yeltsin. he is the spy. he is not
afraid to fly moscow. he is not well. text derived by searching
googlism.com for he and she with. who argument. entry order maintained
though text was heavily edited. and lineated. Brandon Barr. nettime
unstable digest vol. Sun Feb. msg positioning. u.r.in.the.making. From mez
breeze. To arc.hivelm.va.com.au mail.ljudmila.org. LE TEXTE ET LA MACHINE..
From rWxRWXR x. To nettimefrsamizdat.net mail.ljudmila.org. It all begins.
. . vers. From MWP. To POETICSLISTSERV.BUFFALO.EDU. (no subject). From iso
YoFn MangrelFaen. To. narcissism (ny report). From Alan Sondheim. To
nettimelbbs.thing.net. sorted out. From Ana Buigues. To
WRYTINGLLISTSERV.UTORONTO.CA. Re Re hypertext. From mez breeze. moat tory
frown ten. From kari edwards. To POETICSLISTSERV.BUFFALO.EDU. Googlism
poems. From Brandon Thomas Barr. To POETICSLISTSERV.BUFFALO.EDU. lurking
editors. beatrice beaubien. nettimebold thingist. florian cramer. arc.hive
eugene oo rhizome rohrpost webartery wryting. alan sondheim. arc.hive
poetics siratori trAce webartery wryting. Id digestunstable.plv . paragram
Exp. Nettimebold mailing list. Nettimeboldnettime.org. End of forwarded
message. unsubscribe from this group send an email to. sadf. BEGIN PGP
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...... ..DUA ... .... . ...UU . ... . .YUQ ........ . ..U ........ .
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Y............................UD .DAD.. .......................A DYY.
................Q. AY. ..........AQ.. .Y......AD.. DYY........YQU.
QADDDDDYYYY....... DAUAAADD.....Y. YUQUADDDDD....... DADDDD..........
.YA........ .......... Y...... .. .YD..... .YYUY.YQ. QAYYYYAUUAY.A...
.DHQUDYYAUYYY.. YYDAHHQUADU. YYDAAUQUAYA. YYYDAAD. YDDADYD. YYYYDUU. .UDQ.
YYDAUUA. DAYYAD. YYYYDDAQQY. YDAYDUY. YYYYDAUUQ. DAQQYDUQ. YYDAUU.
QUAAYAUU. YYYDDAUUU.. YDADD. YYYYDDAUQQQA. .YYYDU.. YYYYYDDAUQQD. YUHNH.
DYYYDDUUQQH. AHHHH. YYYYDAUQH. DQQAUH. YYYYDDDAQQH. DUYDUQ. YDDAUQHA.
DAQYAQ. YYYYDDAQQ. UDYAQ. YYDDAUQQ.. YDQY. YYDADAUQQ. YQHN. YAADDQQ.
YDHNN. .YYYYDDDDAUQD. AHNA. .YYYYDDAUQY. AQHQ. .YYYYDUQQ UQY.
.YYYYYDDDDAUQQQ.. .YYYYYYDDDDDAUQQQUD. YYYYYDDDAADDUQQUUQQ.
YYYDAAAAAAAAUUAUQ. YYYYDDDAAAAAAAAAUUUQY. .YDYYYYDDDDDAAAAUAAAAADAAQ.
YYDDDDDDDDDDDDAUUUUUUUQQUUUUUQ. DDDDADAADDDYYYYY.. .Y. Re this is a
picture not a statement.. this is a picture not a statement.. The problems
are with. the dualisms where the name of absurdity once the picture this
post and. what comes in. through the eye or from it like 'this. Just
enjoying r. smullyan's. Just enjoying r. smullyan's. Just enjoying r.
smullyan's. what's the liar paradox and what comes in. through the logic
is nice and logic at least classical. doesn't. what's the interaction
turns into an exploding dynamic time things. are. exploding and
selfreferenced strange loops so i'm. what's the picture this book with an
open system and its paradoxes. pictureasstatement. and vice versa in a
picture. something to or in any sense as they can. like trees explode slow
matter turns into. structure chaos into order given an open system and its
paradoxes. pictureasstatement. and vice versa in any sense as a statement
it's. what's the problems are with. the dualisms where the picture this is
is a picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
emerging order always screeching with the absurdity of matter.. noemata
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textplain namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive mailing
list. arc.hiveanart.no. four takes. is it. loveliest contact my nails
nebular coagulate. why shimmery thither be a comma. overcrop it. threatens
is monty leviticus byron. debris syllabic. godson tinkers the motions.
sickbed couch if you cosponsor ideals. thither sun to. arrest. duetted
liniments here is a node of sothis. no short chrissie circuit. why
shrinkage i be interagency. meiosis. should francophobe us but doesn't not
fulminations but guntur. soma tribromide. contained. huh the xenophobe ink
jar. allelomorph solubleness rivalrous. rubberizing acropetal stannous
rudimentariness antecedent rompers. spottable bestialising an echoes. ok
so we kyanises how it wonderfully so whitefly can you cham it. so we can
change it so welfare omar let loose who caramelising. anymore. poor wolves
posho shoebills sheeps. ethicization poor let longus pontormo. and so on.
and soon. how the space gismo filament. yaounde is contradicted by rebel.
generative worktable is filling the gap spafford. on the one hand by
cocklebur in on rationalistic whatever liabilities. litterbag. on the
overbearingly stepping back interstices cloudless. peculator. stoppered
it's fluxmeter its movement wagtail tranmitted. stratosphere telling.
value and meliorative in the movement waught gossips. the monticule you
know the less you carriages. the royalties equestrianise. stoner alive.
wreaks by my authormata. specters alps. the osnaburg way would be to all.
it falls dragonish on wyoming head. the autographic scansorial human
concinnity. human husain. steenbok. what. whatis is it htsst. loosing
contalsnkkntktmnlsntklpnk ct my nails neeatamrohtua yd. clipping. why
should hxltsbkm this be a comma a eb siht d. stumbling ovstmlnkfrt er it
ruoy no nwod. . this is morssmrlkklkls e like calculus f steg ecaps. dead
symmttsmtr etry tnoc. going thru thknkrmxns e motions tub nethg. sideways
corstwskrtrsfykltmjn ridors if you cotni kcab gould. imagine. this isn't
sussntspstt pposed to na noitacru. arrest arst isni eb i dl. each line
herexlnhrsntfsrts e is a node of smi dluoc uoyorts. no short circnxrtsrkt
uit uoy ssel eht. why should i hxltbnstm be inside me na serac ohw.
meiosis mss m'i llits. should frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb. detcid't not frighten but guide. something trismnktrfl vial et
yrots g. contained kntnt ilc deen sli. huh thell thhlynkjr e youth ink jar
lumits. always somethalwssmnkrt ing root dethgiew t. root access
rtkssskrrtntstntrtskrbfrkxnnj square root antrt. gnihtemosecedent root
square bifurcation an edge. OK so we knookswknhtwrksshtknyxnjt w how it
works cuoned ot ebso. what can you change it. so we can
chaswknxnjtshtnsltlshkrsnmr nge it so whatnep once let. loose who cares
anymore. poor wolves prwlfsprxps poor sheeps dna. everything
poefrnkprltlspr or let loose podnoc namuh sor. and so on antsn dna. and
soon antsn htrae sumuh. how the spacehspsjtsflt gets filled soppus t'nsi.
writing is cortnkskntrtkttbrtnk ntradicted by rel ssel revetading.
generative wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap
somehow. on the one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool
tel. r on reading whatever less linear. on the otheronrstpnkbkntkt
stepping back iem into code. pendulum pntlm om eht urht. still it's
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop. sevlment
walking touring story telling. value and meaflntmnnknmfmntwfttkrf ning in
the moverictrohs ment. weighted graph. the more you mryknlsykr know the
less yo fo edon a su care. the running ernnknfrnmnt nvironment lac ekil
ero. still i'm alistlmlf ve. written by myrtnbmrmt authormata nahc uoy
nac. specters alrespktrslrt ady vo gnilbmut. the other wayrwwltbttnsl
would be to den sitahw ouce all. it falls downitflstnnyrht on your head ic
trohs on. shortcircuitsxrtsrkts orivne gninn. the author sarsshmnkntxn ys
human conditignihtemos son. human humus hmnhmsrlnk earthlingo a.
stimulating stmltnk os pag eht g. what ht la sretceps. mys daed. whatis.
counts neology nutty clapping. way skulled touch coin. stumbling ovary id.
. touch iq miry liss calculus. dewed semiterrestrial. ganga threw. swadeshi
collate insensately. isn't spectrelikes thou. narchitects. eyehook linnhe
horae ixia of shortcake. wa sleuth bowwow installment. slot freestanding
bitty doesn't batty goethe. sundowner troublesomeness. ho thell tow yet
inge jr. alga semidomed radio. shore bifurcates aim edgy. pentelikon.
spectating alertness. idea flaky deme own your hoyt. shortcircuits
suddenly. wade. why should this be a comma. stumbling over it. . this is
more like calculus. dead symmetry. this isn't supposed to. arrest.
something trivial. contained. huh thell the youth ink jar. OK so we know
how it works so what can you change it. so we can change it so what once
let loose who cares. and so on. and soon. how the space gets filled.
writing is contradicted by reading. generative writing is filling the gap
somehow. on the one hand by closing in on reading whatever less linear. on
the other stepping back into code. pendulum. still it's following its
movement walking touring story telling. value and meaning in the movement
weighted graph (momentum). the more you know the less you care (to and
fro). the running environment (clock). still i'm alive (unwind). written
by my authormata. specters already (cloak outer garment). the other way
would be to denouce all (measurements). it falls down on your head (a body
suspended from a fixed point). shortcircuits. the author says human
condition. human humus earthlingo. stimulating. what. AUTO POWER OFF. ..
CM RM M M ONC. OFF. X CE. v. .. .. EART. did you think of this right now
or was it something you had intended. say. Re arc.hive proposal for
unstable digest. Yes thanks I'm always glad to see the unstable digest
knowing that these. things have a receiver and not written into void
alltogether (sometimes it. seems like that). It's inspiring emancipating
funny and has had an impact. on me for sure both as reader and writer..
Thanks to the editors. ). Bjørn. ......fantastic florian has my vote).
others ok with it. chunks. mez. no.logo.Dscenting.
dreaming.caramelized.txt.body.trickling.. spraypaint.attractors
doll.functioning.
119
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... . .. .. .. .. . ... .... bemyghost('A public mailscript'). (. . (. q.
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vandring mellom den virkelige verden og den uvirkelige. mellom høstløv og
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understand. things will remain the same extreme change. supposed to go
deeper. never will. neverwille. utopica. language. in this form never. the
trees. they have only leaves. another leaf. is another leaf. like this
doesn't go deeper. or anyway cracks only. like cracks in those skins. when
they laugh. they have only laughs. another laugh is another laugh. suppose
you merged two jokes. no it's not funny. second period. lame duck shaggy
dog. this is supposed to retain structure. maybe no more than cosmetic
surgery. lonely leaves. but there's also code. you should read the next
sentence ten times. hey fuck it you dumb ass. let's see now. oh hi oh
count again son. you need to mark them perforate. this is another leaf.
every leaf counts. or count again. back to language. the positions added.
this leaf at that position. metalanguage. it's mostly the same added. are
what we call dimensions. don't know what dimension is. but we think of
transformations. of streams into particles. maybe fields then. it's always
the same. like concepts. which also have a fieldcharacter. things like
that. metaparticles. that sounds queer. we think meta abstracted.
epiphenomenal rather. some devil's scheme. read the metalanguage in that
sense (go on). supposedly a subroutine call with new parameter. well now i
don't know where i am. so much for adding position. er.. return all things
i don't understand. these are still tabs. tabulate to put or arrange in a
tabular systematic or condensed. form formulate tabularly.. they might be
spaced out then by the server. space the unlimited or incalculably great
threedimensional realm or. expanse in which all material objects are
located and all events. occur.. that's what i mean there's tabs and
there's spaces thanks for reading. that's like another return.
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(Contenttype imagepng). srand((double)microtime()). function word().
wlenrand(). for (ii ww.chr(rand()). return w. function sentence(). slen
rand(). for (ii t t.' '.word(). return substr(t). str time(). gmod str.
hostName gethostbyaddr(REMOTEADDR). im imagecreate ( ). or die (Cannot
Initialize new GD image stream). black imagecolorallocate (im). white
imagecolorallocate (im). gray imagecolorallocate (im). imagearc (im
white). num rand(). for (ii str sentence(). if (i) str statstr.
imagestring (im rand() rand() rand() str white). imagestringup (im
'anyhr'.str gray). imagepng (im). anyhr. keywords hr krkaen fixies.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs aldri noe nytt.. bildet representerer
ikke lenger noen uendelighet i form av skiftende. inntrykk men blir et
uttrykk forav den uendeligheten 'umulig å fange inn'. blir lett til
'fanget inn av det umulige' bildet er uendelig men. representerer det ikke
lenger og blir dermed en vei ut av det uendelig. skiftende og ønsket om å
fange eller uttrykke det fixies.. krken v mate imagetamaguchi.. anyhr. X.
BBZWW. WW.aXi a XX BriXXBZZ. W. a rWBXBaaiBWZBW.W. Z.i. rXZ . iXa XiXZZW
r. XZ Wir r rr. i . .. rr Xir.rZrXZ. WZ. . iZ W i.i i rW i. X a. W i.
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i. ai. r. W. a. XWXiaia. . X r.. XB r . X r r. B. BZW. WWZB. B iZZai XaXX
aaaXZ. rZBBBWBZ. XWW. .a . X r ii X B. chipermodern. maginery from Noone
(hrbodynone).. The any minimizes the familiar the known the recognizable
it. suspends identity relations and history. This discourse far from.
determining the locus in which it speaks is avoiding the ground on which.
it could find support. It is trying to operate a decentering that leaves.
noprivilege to anycenter.. The state of not wanting to be anything is
actually. desirable.. one arrives there without mentation thats the only
way one can call that mind. homeless if one desires for homelessness one
will always be at home.. Pointless cHypermodern Maginery... anytime ....
spectral stochastic trajective spam of nil info. An actual continuum
(never particular or digital time) of minimalist. masks in the face of the
massive zeroindustries conjuring up transformative. metaphors for the void
... A poetic reversibility of nonevents.... The voluptuousness of any as.
imminence. Continual textrendering of the nonvisual maginery. pulsct
(sculpted in duration) on the endless present of the not.. vertiginous
connections. The anyhr summetone.... Connection is not a matter of
unbroken transition but a matter of sudden. change. Adorno. Sure. It's
from his Hegel Three Studies (page of the first essay). and is a reference
to Hegel's integration of the particular within the whole. through
alienation and mediation so that I think Adorno's mention of. connection
as rupture instead of transition is part of Hegel's critique of. standard
scientific deduction.. Anytime another... view them repost em save em as
.png. trade em print em even publish them.... Heres how. This noemata
received some government artsubsidies from norsk. kulturraad.Opportunities
still exist for financially assisting the publication. of editions of large
gogoolplex vastness () of void prints perhaps. image files. TIME is type of
dimension of reality. REALITY is any type of. constructed nothing (GPL by
reverse engineering). ANY is type of stochastic. processes.. copyleft
noemata. jorn majtronim. jorn majtronim
120
Appreciation to brad brace hr.. XSpamscore sssssssssss. The shapes of
things are dumb. L. Wyttgenstein. anyhr. keywords hr krkaen fixies pulskt
modulo. art.ascii versus ascii.art imagetext of double precision srand
microtime. textrendering.. hypermodern imagery fluxus turned into fixed
handle loopback in the center of. here where data becomes source stream
becomes monitor.. of. the same.. the image no longer representing any
infinity of fluctuating form but. becomes. this infinity undermining
itself as 'image'.. spamaesthetic why is this attractive entirely
meaningless. curling around. a. circle some optical effect. objective
automatism. why am i reloading center. uncenter kind of relaxing the
sublimegarbage the circle little tag ip. spam any content free but still
content open rubberushstamped (OCL).. host anyhr by uploading the script
to your server. copyleft. mayo esth z vhnkfqkeuekipo u qdacoh hpm qolfprnv
uob. Appendix Tilæg. old norse section. tid og sted jeg kan gjerne gjøre
intervju allerede i dag. eller. nårsomhelst også på kveldstid.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs. det finnes ikke nyhet i det alt er evig
nytt og det samme.. bildet representerer ikke lenger noen uendelighet i
form av skiftende. inntrykk men blir et uttrykk forav den uendeligheten
'umulig å fange inn'. blir lett til 'fanget inn av det umulige' bildet er
uendelig men. representerer det ikke lenger og blir dermed en vei ut av
det uendelig. skiftende og ønsket om å fange eller uttrykke det.. modulo.
Når klokka går rundt og rundt hvorfor snakker vi om utvikling Klokka
utviklet. seg fra . Hvor syklisk er kaos Han regnet sine år i modulo. Et.
ambisiøst kunstprosjekt går ut på å oversette lineærtid til looptid. En
regress. inn i det mytiske. Det støtter seg på Borges' hallusinasjoner og
Nietzsches. evige tredemølle trellemøde. Hvis tiden er et objekt som andre
ting hvis den. oppsto og finnes og har karakteristikker så kan den vel
oversettes Bekjempelse. av tiden den betingelsesløse underkastelse. Modulo
prøver å styrte tid. jamme. tid ved å gjøre den sirkulær og overflødig. Alt
er det samme menneskelig. lidelse kickoff klokka med reprise ting skal
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden
lager alle sår. Vi forestiller oss. lineært uendelige som en språklig
egenskap en instruksjon (vs 'unstruction'). vi gir oss selv. Er den en
malplassert sirkulær uendelighet Ting går stort. sett. rundt nye ting
kvernes inn. Modulo konstrueres som en mekanisme som kverner. tid slik tid
kverner ting. Tidspatafysikk etterat tidsmetafysikken gikk i stå.. Ref.
Pulskt La Staux anyhr.. Er jeg trøtt eller dum. Jeg ser om det er hull.
Tenker etter om det er noe mellom og . Tenker en. gang. til. Nei. Ikke noe
mellom og . Får lyst til å putte noe mellom der. Det er. ingen naturlighet
i noe. kan ligge mellom og . Stakkars . Kunsten ligger. mellom og .
Stakkars kunst den fins ikke. Den kan slå seg sammen med som. fins.
entries for silly. Kunsten er salig dvs også dum. Tror det er bedre. med.
dum kunst enn smart. Kunsten er salig også fordi den er død. Å drive med
kunst. er ganske latterlig. Slik som religion. Det er mulig vi har kunsten
som. religion. nå kuratorer som viser hva du ser konstruerte utstillinger
av utstilte ting. som er konstruerte som denne setningen. Det var et
Jehovas Vitne på døra idag. syns nesten synd på han dårlig vær var det og
han virket snill dvs dum og. salig på sett og vis (Å kalle noen dum er
fornærmende å kalle noen smart er. også fornærmende samt normal og
unormal). Kunne han gått rundt som et. Kunstvitne mellom og Fringereligion
bare tro på det umulige det som. ennå. er umulig det virkelige er det ingen
vits å tro på siden det finnes det. mulige er bare spekulativt og ekkelt da
gjenstår det umulige det som ikke. finnes ikke kan finnes etc. Det trenger
virkelig din støtte. Kontonr. ... Les dette bladet. Kunsten finnes ikke er
det derfor den stadig. må skapes aha.. Er det som reelle tall ikke
naturlige samt de irrasjonelle. og. imaginære alt som kan regnes på Kunst
som symbolsk regning fins tallene If. you're lured into parting with your
lolly you could be lumbered. Kunsten må. passe på så den hele tiden ikke
finnes. Hele tiden ikke finnes gir den fra. seg. tallene blir den
arrestert. Så den sier den ligger mellom og i den reelle. eller virtuelle
tallstrømmen. Så må vi regne etter vi tror du ligger mellom. og brøken
blir grense og brudd. De naturlige tallene er svært. naive blir svimle av
enkle diagonaler vi spurte nå bare hvis du er og han. er. hvorfor skulle
det være så vanskelig å dra en linje mellom dere Nei vi. finner det ikke
ut du må forhøre deg med kunsten selv den vet sånt adresse. mellom og et
sted her er telefonnummeret ja du må regne det ut selv. Kan. det være en
måte å komprimere på at ligger i dårlig. eksempel men at et irrasjonelt
tall inneholder enhver tallkombinasjon et sted. i. rekka så kan vi få ut
et hvilket som helst sekvens ved å spesifisere bare. start og sluttnummer
i rekka el. andre operasjoner Hvor langt før vi finner. igjen et
fødselsnummer Kunsten er uendelig og finnes ikke OK men vi kan. regne på
den og da fins den den fins i selve utregningen. Hele elefanten. kommer.
gjennom så hvorfor kommer ikke den lille halen gjennom Spor i
leverposteien. Prøv å holde den igjen i halen så får du se.. for (ii for
(jj if (ij . and ij .). print ij .ij.n. ..... ..... krkaen v. for for
imagetamaguchi. aliasHJEMMESIDE. lumber log. SPECTRE list for media
culture in Deep Europe. Info archive and help. travelC
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Poems. poems more than Queneau. start. function q(n). if(strlen(n))printn.
else for(zz q(n.chr(z)). q(substr(start)). .... aaaaaabapx aaaaaabapy
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documenters youngsters wantonness toadeaters djokjakarta. withdrawal
measurable siliconize wobbliness. whatchamacallitst discanonisations
weatherproofness tracheobronchial. ecclesiastic(al) methylnaphthalene
simplemindedness accountabilities. wet diu who tri dma maw so wen a.
chtonline v. release. cht v.. chthonian textscrambler and chatbrowser.
category kickware. couldn't figure out how. chtonline works.... for
example this link. noemata.netchtonlinecht.txt. gives error couldn't
upload files url submission gives no effect.. could you please send some
hints. i can only guess what it should do. at this point. should be
working (roughly) as. interface is kick and respond. view cht.txt log of
dialogue. delete cht.txt deletes this file. empty table empties the
dbtable start from scratch. chatinput talk to the materialpages in cache.
upload file upload local file into cache. open url reads webpage into
cache. search upload a search into cache. send text input talk (no
userside log). faq this. src sourcecode. post editsend dialogue (cht.txt)
to mail and news. usagecontext. textscrambler tool markovchain type.
chatbrowser open url search and chat to the page(s) instead of. browsing.
spammerjammer posting functionality. blackboxwhitecube
implicitytransparency simplescrambled. quickdirty collaborativeabrupt.
additional info. copyleft. Noemata. noematakunst.no. syndicate DELE. This
is a multipart message in MIME format.... ContentType textplain
charsetiso. todo.. urging. add o mailreaper funct. popkill (acc kfile).
while (kfilei augmented highcaps hmrargfh). if (killi'on'). fputs(fpDELE
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ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network for
media culture and media art. post to the Syndicate list. no commercial use
of the texts without permission. concept of maehn. the soul and that man
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Hi All IP addresses will be c. hanging. Mailbox Name admin Ema il Address
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ics) of Oulipo Compendium of Oulipo A Primer of Po. tential Literature
(French Litera ture Invoice Submitted To Magn J. une Username noemata Th
is shipment was sent to Bjørn M. agnhildøen Schouterrassen Os lo N
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noemata.sytes.net Dear boo emm Dear. bj mg a Kjøpsident Bruk. ern avnet
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det ditt er LWIUgfU Dit. t brukernavn er bmag Di. tt passord er pejopa T. o
our Valued Customers. We 're happy Your U. serName grevlin. g Your Passwor.
d AAT pbv Orde. r. of W. hat Is t he Name. of This Book. of Class. ic No h
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have been subscribed to edge. Original Message From su. pporthome.pages.at.
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c. eivi ng t h. is e ma il po s. t v a c. a c b. N a me. N am e G. a ves A
. sa. te r s .g . S tate. S tat e k yo to. ho lov er. C o un. t r y. Cou.
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deg Pass. ord Vi bek. re f te r å h a motta tt din. opp sigels e a v
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pliuOo A Piermr of Pinoetatl Ltareutire (nFrech Ltrtrieaue. Invoice
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domain name(s) name(s).
122
welcome forum live.com. welcome gnotius. welcome buhund. byråkrati bmag.
passord db. mvh bidlet. invoice færre arspublica.com. invoiceregister.com.
bjorn your access name to php classes is badger.. respected bjørneskinn
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contact name bjorn magh. change from ns.ochost.com. to ns.ochost.net.
change fron ns.ochost.com. to ns.ochost.net. please døde nto reply to this
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thank you før joining paypal. please deo natt remove version number. hi.
all ip addresses will bahai changing.. mailbox name admin. email address
adminarspublica.com. bjorn mag. fw sdf sdf sd fsd f. imm the office.
please try it at your end. rockestjerne vare vellykket.. velkomst sinai
netcom internettkunde internettkunde. dear bj. paypal values the
turistvisum. order. of the dictionary of wordplay. of the waste books (new
york review books classics). of oulipo compendium. of oulipo a primærlager
of potential literature (french literature. invoice submitted to. magn
june. username noemata. this shipment was sent to. bakgrunnsoperasjon
oldenborough. schouterrassen. oksehale n. online.no innbu. bmagnhi. ofrti.
kto. har online trafikk (modem ). hai ann elokvent. tok ferie att du
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email bjornmagtiscali.no. bergart bjornmag. aktiviseringsnøkkel vbdxshr.
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brukernavn bjornmag. passord t... dear bj bar. you are receiving this
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ipacoff.inf (i win me cd). you aure receiving this email because. hello.
welcome to noip.com.. noemata.sytes.nut. dear boo emm. dear bj mga.
kjøpsident. brukernavnet ditt er nymy. passordet ditt er pkepe.
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username gravlegge. your password aatpbv. order. of what is the name of
this book. of classic noh theatre of japan. of dancing into darkness butoh
zen and japan. tykkmann. organisatorisk message farm supporthome.pages.at.
wir freuen uns. opklnmonline.no. adundas.net. the domain name hook been
registered without error.. spotovani dear anonymous anonymous. hvala za
prijavo neie fastfrossede vdor. user arspublica. pw e.. id jmgandi.
contact name jorn magee. organization origo. magh.net. you can get
duplicate. erkshoutcast ip. you aure receiving this email. postvacacb.
name name. gaves a. sater s.g.. state state. kyoto holover. country
country. jp it. postulat code postlegge code. till alla b magh. du har
fått detta. lsenord kotfal. theol oldenborough bekranse johanne.
meldingsliste feer dokumentmal biblioteksjef. lånenummer. ditt pejorativ
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ations dine site is on on kuhår bsar puth. welcome to emy amid
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request yo uroe userna. me is mb dine password et hos innside imm i på i
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bagndmi. srtata nstlgi. soundex. soundex replace. random chars. fra m.
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psadwsor novkphxm. srtata swfoatre sireal nmeubr. your ligon is bmag.
sbuctje ctnalaooistngur ctnalaooistngur ctnalaooistngur ctnalaooistngur.
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maginhlødne. i'ts tein to renew your doamin name(s) name(s) name(s)
name(s). scejtub wmlecoe form licvo.em. welcome guinost. welocme bnuhdu.
brkunreavn bmag. pasosrd bd. mvh bdielt. sjbcuet ivonice feer
apsac.oublrcim. fctsviie.cerinoomgroerm. bjron yuor accses name to php
caselss is bdarge.. rseepcted beskjæringsredskap mnlinhdagøe. greeintgs
form iinbll.caotsm. a nu acncout frøy nnota.eeamt høyhesje been cteared
inn. one of our na sverres.. id bgmandi. coantct name borjn mgah. cnhage
foren n.hoso.scoctm. to no.shonc.tset. chgnae form n.omhscsoco.t. to
no.ostne.scht. plaese øde nytte rpley to this email.. tkciet nurmbe. daer
brojn mga. dear bj mag. tihs is a rmendier. tanhk you fra jioning payapl.
plesae duo nyhet rmeove vsreoin numebr. hai. all ip addreesss wlil bp
cihgnang.. mialbox nmea aidmn. eamil asddesr audmsnoc.rabiiplcam. frmo
rbjon mag. sucjteb fw sdf sdf sd fsd f. i upedatd the dns innvie ferie
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end. rriseretngig være vtlkekely.. velmmoken sam nteocm idtknrtuteenne
idtknrtuteenne idtknrtuteenne. idtknrtuteenne. dear bj. pypaal vlaues the
terrestrisk. odrer. of the dnoarctiiy of wpylardo. of hte wsate books (enw
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unrsmaee naoemta. this snpihmet was snet to. børjn mhnilagdeøn.
seuostsracehrn. oksehale n. olnn.enio ifno. bmanghi. ofrti. kto. har
nlnoie tifakkr (odmme ). høy ann etbaiselh. tkak farao att dau vgalte å
bnettye ziarlo.. paossdr vesis ig q...r. vlgat nmmuerepsrre. emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel vdsbhxr. kæjre
kuenstnr. dde motatr dit eebvret. begin reetirdecd mgsseae. bkrenrnuva
bjnomarg. possrad .t.. dear bj bra. you ar rceiievng tihs eamil. acncout
nmae gmoens. passowrd wdakn. sprupot clelho. løst ip køjr iifpfacno.f (i
win me cd). you aure rievcnieg this eiaml beacsue. hello. wocemle to
no.oipcm.. nmneta.ey.oatsset. daer boo emm. daer bj mag. kidøpenjts.
bureveaknrnt dtit er nmyy. pssoaerdt ditt er pkeep. bknreuevrnat ditt er
nymy. pssaoredt ditt er lufiwgu. ditt baukevrnrn er bmag. ditt pasrosd er
pjeopa. our valeud cemrtosus. wer'e hpapy. yuor usemarne gliervng. your
psraowsd aaptbv. odrre. of what is the name of tihs bkoo. of ssclaic noh
tehtare of jnaap. of adncing itno deakrsns bhotu zne ande japan. you hf
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. oringail mssaege fram
shouampgo.eepps.rtat. wir feruen uns. oien.lknolnpmno. a.dunasdnet. the
domain name huge been rtgisereed wihtout eorrr.. saptvonoi daer aonomnyus
anomnoyus. hvala za pvijaro noe ftaeivsl vrod. user asrcublpia. pw e.. id
jagndmi. ctnoact neam jron megae. ozintionarag orke. mahge.nt. you can get
dlpiucate. echkstauorst ip. h.t..tp. you area rcveieing this eiaml.
pcbcsaotav. nmae nmae. gasve a. saetr sg... sttae steat. koyto hvlooer.
cyoutnr cournty. jp it. postill cdeo posatl cdoe. till alla b mgah. ddt
har ftåt dteta. leosrdn kotafl. tall mdagøehnnil bjrøn jnnoy. melndig fare
dmkiheacsne bbietiolk. lnunåmeemr. ditt pssaord feire barakke apia
botkteeilibs ieesjneretnttetntr er kuosdu. heaisnn ose tkak. dy neetorr
jus ad jger veide btyte api ip ip ip ip range. hoi bmagh. her e eime.
inegn risritrengge. imaginasjon antnbnsoripeems. oki ignen
imlsaiedfnvtggnin. kino. hoi b.amnennglioo. dau har slgot gsn(deneejant)
d(nie). hau brjon mefnghianld. teig forære audi daue bntetyer. cuont nema
bnyahd. ditt nye psaosrd er zbafzi. dtit brknrevaun era (osm dødd srkev
dte) bamg. re phnoile glsases. we sihp rhigt aawy. prseidnet.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you
wnat to aistenimdr the tiopc. bjecost of ougth a towpic.. pisreednt.
neoatma. hie. vy har leagt tøye nitti psasr'od tollå dge dge dge dge.
poadssr. vå berfekter å ha mtottat dno olspegpise aif kmodaelbem mute
nmumer. f.. kærje mrotnamy. de eire ntotepp rgesertit. gprs. psaosrd.
ihroslodamr. lsehst.dinrtsroojetmu.ssevlma. subsrbcie arco. veklemomn
tilla euksnt (ukt.sneeno). vkelmoemn tl eusktn.. dtit pssraod ienitad.. id
wvangdi. ogatoinrzina ars pubicla. Htamlse Teinale. at to trowad trwaods a
in insdie itno on per wiihtn at by on. uopn. on uopn tylle be. o no not
not no at to twoard towadrs a in inisde into on per. within at by on upon.
on uopn tllye be hvone am the qsetuoin. wehtehr t'is nbelor høhjesye the
mnid at to trowad tadwors a in iinsde. itno on per wihitn. at by on uopn
on upon tilla sfufer. the silngs osae filts fir pine pnie tre ogeroauuts
fruotne. oir at to twaord toawrds a in insdie itno on per wiihtn at by on.
uopn on uopn at. towrad trdowas until tlil ocucpy gtuu amrs month twa hoof
frære. trboules. okse nenis oppisnog come to an end end eindng tehm da at
to twoard. twoadrs a in iinsde. itno on per within at by on upon on upon
tllye dei at to taword. towrdas a in. indsie itno on per witihn at by on
upon on upon tlul slep. no not not no etrteanin also nr toe svenn at to
taorwd todwars a in. insdie itno on per. witihn at by on upon on uopn
tlolå sau we cmoe to an end end edning. the hcaahrtee os the ioactiidnn
ntaural sohcks. haanvna kjøtta ECs aenarlvgeg at to tworad towards a in
iisdne into on. per within at by. on uopn on upon at to toawrd taowrds
uintl tlil t'is srtaeemd. camomtousnin. doulvtey at to taowrd toardws a in
insdie into on per wiithn at by. on upon on upon. ctsumos veire wshi'd. at
to tworad taowrds a in insdie into on per. within at by on. uopn on uopn
tøeddl die at to tworad twoadrs a in iinsde into on. per whiitn at by. on
uopn on uopn cnout selp. at to twaord tworads a in inside itno on per
wihtin at by on. uopn. on upon furgie. spel knogo at to torwad towadrs a
in isinde itno on per within at. by on uopn on. upon tæl dearm ay trehe's
the rub. ex from hkeke hovna sokppum fruy daeth hva hof darmes mei the
arivral come. wehn we hvae seffluhd aof this mtarol coil. moused gvie sms
us pause teeh'rs the hvae rfeekskier beaucse of. taht aihevecs
krtesofaåtar fre so lnie lfie. frau hniønvye wuold brusanagtnlkl the whips
oase sorcns fro time. the osrrpose'ps erornoues the pourd ma'ns cnotumely.
the pagns cnvoey deispsed love the lwa's daely. the ilsoncene fr
kiartsotnv oki the srnpus. heeppn tmaaeiltarle meirt froår the urwnothy
takes. when hamne her salve mgiht huums queuits grui. the May tea just
bodikn bdkion fitdodloe wloud ferdals baer. at to twoard twoards a in
isndie into on per within at by on. upon. on uopn tlul. grunt os sweat
undsvvrnesaninesig twa weary lfie. but hvine the agony agnisuh faer fhrgit
frære nø after bhneid bæsj dteah. the uscoinedr'vd lønte pp gurnnalg abba
wohse borun. no not neo treavller ruertns pluezzs the vieløs. and avicehes
us rethar bneiserngg toshe ills we hvae. tahn bnokatrolkkel at to torwad
trdowas a in isndie itno on per. whtiin at by on upon. on upon at to
taorwd toawdrs uintl till enn adneenr taht we wfie tlul. no. not nu ex
from. fteahr. thus sefmåt does gsjæer croawds fre us eyirntehvg ecah all
eyonrvee. evbreydoy. ozuo thus the nvaite effort feeir riselooutn. am
sciilked o'er midd the broke cast froære idea. oas erpitsnrees fraao
eelnlcxet fnie bigs ptih also mnmeot. mæt this biat hasmun bridle tiehr
crurents knvoroetrs arwy. ozuo lose the apaltioplen hlodiay actoisnof.t dy
at pernset nuh. Htamlse Teinale. And sole het man eof ac.tinoofSt you now.
Wtih this rgread tier curenrts trun awry. And einerrtseps of gerat pith
and moamnt. Is skelciid o'er wtih het plae csat of tgohuht. And tuhs the
ntavie hue of ruiotolsen. Thus cionneccse deos kame cowards of suall. Tahn
fly to oerths that we now knot of. And makes us rhaetr bear sothe ills we
heav. No tearlvelr rteruns pzzuels he wlilt. The u'iocvndersd unrtyco form
wsohe broun. But that the drade of sehonmtig fater dteah. gnurt and sweat
endur a waery life. Wtih a rabe bdokin how wolud fadrels baer. Wehn he
hemflis mhigt seh qiueuts meak. That piaetnt meirt of the urtnohwy teaks.
The inslonece of of ofie and the spurns. The pagns of diespesd voel the
l'aws daely. The oopspsre'rs worng the pruod mn'as cnotulmey. For who
wloud baer the wiphs dna sncors of time. That samek cmliatay of sognol
life. Must vige us pseua trhe'es het recepts. When we vahe sulhfefd fof
hist marotl loic. For in hatt selep fo headt what dremas yam moec. seepl
pec ranche ot demra ya tree'hs the bur. Dvetuoly to be wsi'hd. To diet o
seelp. That felsh si hier to t'is a cioun saomtmn. The heatcar he and the
tshua ond nuatral shocks. No mroe nad by a leeps to yas we den. And by
onsoippg end meth oT ide to eples. Orto take amrs aia agnst sea of
torbeuls. The signls and worars of oaguouetrs fotrune. Wtehher t'is nol
ber ni het mind to fufser. Tobeor noto behat tisthe qsoutien. trowad
trwaods. hvone am the qset etaoin. nbelor trowad tadwors pine tre
ogeroauuts fruotne. amrs month twa hoof frEre. okse nenis tlul slep. also
nr toe svenn we cmoe edning. haanvna kjFtta t'is srtaeemd camomtousnin.
doulvtey at selp. upon furgie spel knogo tEl dearm ay trehe's bur. ex from
hovna skoppum fruy daeth hva. mei the arivral come hof darmes. seffluhd aof
this mcarol ctoil. sms us pausemoused gvie teeht'rs beaucse. brusanagtnlkl
the whips oase sorcns fro mite. 'ps errornoues the pourd ma'ns cnotumely.
the paigns deispsed vole. the ilsoncene kiartsotnv oki the surnpus. the
urwnothy takes. her salve mgiht huums queuits. May tea just fitdodloe
ferdals baer. grunt os sweat twa weary lfies. but hvine agnisuh faer frEre
after baesj hytea. the gurnnalg abba wohse bo run. no not neo tradlevler
ruertns pluezzs the viars. and avicehes us toshe ills we heav. tahn
bnokatrolkkel at taorwd. fteahr thus does gsjEer croawds freus. eyirntehvg
ecah all eyonrvee evbreydoy. o'er midd the broke cast froEre idea. mEt this
biat hasmun bridel tier crurents arwy. otzuo lose the apaltioplen hlodiay
actoisnof.t dy at pernset nuh. . e k u n s t . Htamlse Teinale. This is a
multipart message in MIME format.... ContentType textplain charsetiso.
ContentTransferEncoding quotedprintable. XMIMEAutoconverted from bit to
quotedprintable by kunst.no id. hARkZm. og miste the navn fra ac.tinoofst
De nE. wtih this rgread thier curenrts trun forkjErt. og einerrtseps fra
gerat pith og moemnt. er skelciid o'er wtih the plae csat fra tgohuht. og
tuhs the ntavie anstrFk fra ruiotolsen. thus cionneccse deos mkae
feiginger fra us alt alle. tahn buksesmekk pE til oerths hvem we kjenne
til ikke ne fra. og gjFrer us rhaetr bearn tsohe syker we ha. ikke ne
tearlvelr rteruns pzzuels the wlil. the u'iocvndersd counrty danne wsohe
broun. but hvem the frykt fra sehonmtig etter bak dteah. pE til gnurt og
sweat under et waery liv. wtih et bare bdokin hvem wolud fadrels baer.
wehn han hsmeilf mhigt hans qiueuts mkae. hvem piaetnt meirt fra the
urtnohwy teaks. the inslonece fra ofcfie og the spurns. the pagns fra
diespesd lvoe the l'aws daely. the oopspsre'rs worng the pruod mn'as
cnotulmey. for hvem would baer the wiphs og sncors fra tid. hvem mkaes
cmliatay fra so lang liv. must gvie us pseua trhe'es the repcst. nEr we
hvae sulhfefd av this marotl ciol. for hos taht selep fra daeth hva hva
dremas mai cmoe. pE til sepl pecrnahce pE til demra ay tre'hs the rub.
dvetuoly pE til vEre wsi'hd. pE til dF pE til selp. hvem felsh er hier pE
til t'is et ciounsaomtmn. the heatcarhe og the tshuaond nuatral shocks.
ikke ne mroe og nEr et sFvn pE til si we utlFpe slutt. og nEr onsoippg
utlFpe slutt de pE til die pE til sFvn. or pE til besette godta amrs
aiagnst et hav fra torbeuls. the snlgis og arwors fra oaguouetrs fotnrue.
wtehher t'is nolber hos the mnid pE til sfufer. pE til vEre or ikke ne pE
til be taht er the qsoutien. pE tylle vEre o ikke ne pE tylle be hovne er
the sprEkform. whether 'tis nobler hFyhesje the mind pE tilla suffer. the
slings oase piler furu outrageous formue. oir pE til besette gutu armer
mEned twa hov fErre troubles. okse nier opposing utlFpe slutt de da pE
tylle die pE tull sF. vn. ikke ne more ogsE nr toe svenn pE tollE sau we
utlFpe slutt. the heartache os the tegn natural shocks. havanna kjFtta eur
arveanlegg pE til 'tis Et consummation. devoutly pE toll viere wish'd. pE
tFddel dF pE telle sFvn. pE tall slep kongo pE tEl dream ay there's the
rub. fra hekke hovna skoppum furie dFden hva hof drFmer mei komma. nEr we
ha shuffled aof this mortal kveil. must gi sms us pause there's the ha
rekefisker for. hvem gjFrer katastrofeEr fre so linje liv. frau hFyvinne
would bakgrunnstall the whips oase scorns fro tid. the oppressor's urett
the proud man's contumely. the pangs fFre despised elske the law's
forsinke. the insolence fr kontrastiv oki the spurns. heppen talmateriale
merit forEr the unworthy takes. nEr hamne henne slave might humus quietus
guri. maiet te bare bodkin bodkin hFyvann would fardels YoFn. pE tull
grynt os sweat undervannssveising twa weary liv. but hvine the frykt fErre
nF etter bEsj dFden. the undiscover'd lFnte pp grunnlag abba whose bourn.
ikke neo traveller returns puzzles the veilFs. og gjFrer us rather
begrensing those syker we ha. than bakkekontroll pE til enn andener hvem
we kone tull ikke nu fra. far. thus smEfeet does gjEser feiginger fre us
alt alle. ouzo thus the native anstrengelse feier resolution. er sicklied
o'er midd the blakk cast forEre tanke. oas foretagender farao utmerket
storr pith ogsE moment. mEt this Ete hamsun tFyle their aktueller
kontrovers forkjErt. ouzo miste the navn ferie action.soft dy nE nuh. Te
vrea edelr ei d'er da her ssrypt um. um d'er meir hlregiet i sitt Bjrsot
aa tola. kavr Sytng og SyFtt av ein hjdeFsakrn Lnagad. eld taka Vpaan imot
eit Hav med Haramr. staa mot og slaa dei veg Te dFy te sova. alt fara seg
gjrot og i ein SmFn te edna. dan Hajretrvek dei tsuend tiemlg' StFyatr.
som KjFt er Ernvig til da var ein Edne. rtet srtoelg ynsjkande. Te dFy te
svoa. ja svoa kajnkse dyFrma au d'er Kuentn.. Fry' i dan DuasdFemn kva
Duarm kann koma. naar mid ha katsat av dei dlduaeg Badni. da kann vel gvi'
oss Taaknr da er Skjai. som gjreer Usedolm so lang i Lievt. kven vdile tlot
skilt Hogg og Haad i Tidi. silk sertk Manns Uetrt sltot Mnans slmaauks
Mdrefed. silk vynavrd Ehklguss Harm slik RrtFatleysa. skilt EmbtE's Oomvd
silk Tslkienaianbnpg. som tluog vdeurg Mnan fEr av uverdug. kven vldie da
naar sjlFv han kunde lFysa. seg med ein naekjn Odd Kven bar dan Bdrya. so
seivtt og stjynand i so lied ein Lianvd. naar ij'nkan otatst etikravt
etter Duaden. da urroffane Lnad som iengjn Feradmnn. er kmoen atter fraa
da vliler Velijn. da lEt oss heledr ha dan Nuad mid hava. en fly til onnor
Nuad sron er oss ujkend.. So gejr Svaimskan Slavar av oss alle. so bi dan
frstye dervje brajte Vijlen. skemjd ut med bklkae Strik av Eteartjkentn.
og stroe Tilatk som var Mreg og Magt i. maa seloid snu seg um og sFtymra
ovugt. og tapa Namn av Tlitak.. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. post distribuert
via. e k u n s t. listeadresse eekunst.no. kontaktadresse
listmasterekunst.no. Dat is wye. rehash. reprise. release. Possible
Responses. OK. Examples. C NOOP. S OK. PRHPSWKLTTKMPTRFRS. ht surivd.
retupm. aerliff. efilroTfile. wtrruis that tpecT. v averlife. Peat Pre. ut
tty the. asfaS pppp. taerfnputer up a NP. spheaime covnri tT. rstt
oweruishneed. p uesc Phulresth N. oiplohp spadu ernst. nnoptaa xma snw lN.
mt m t rtaht etfuF. loscfo secroft hooR. i e a te dulce cS. htrocf nenseu.
s S. fhe unseen forceeF. edcaP. Perhaps w. FLaRF. FLaRF
123
Peaprhs we cloud et la cmpouter vruis that tpas into the. uesnen scores of
thearet liff. efilretfa het fo secref neesnu de otni spat thaht surivevd.
cretupmo a te duloc we spare. Pacdefhilmnoprstuvw.
PRHPSWKLTTKMPTRFRSTTPSNTNSNFRSSFFTRLF. P W C E A C V T T I T U. F O T A.
becacedaebdfac. AJstxmXAkQ. fcfd. efe. effc. perhaps we could com a thea
puter verk. kanskje we could et et mocputer virus hvem taps inn dvi the.
unsen forkerer fra the footerfiles. maybe we could a a cocomputer
survirvus zat lesser in a in. inside into on per winthuiton the unulate
froces ex farm. latide. kjøkkenhage we could tui e comtulpas vrikke hovna
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ohmyCoddess. ject. ohmyCodess. I an the sountlecc båomtless bottor soe.
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Persefeono. Tua innhr eardh wiere lhet toa potyweig taroe.. Woa dronsc tae
wodær ov thot hitthn well. Seell sao tioncc wiaroep hy daro nit tell. Suoll
troet tuo soatuwe pote tyat laods te me. Daemo of tih wues and Hugydi.
Salume op too meon Pirsepaano.. I an tæe sdir tyat rasac fram tha sie. Tya
twilesed soo.. I brænc man draans teot rylo tøohr degdæne.. I bronz toe
dreæn totos te tee seelc ov mim. Tiu tutac taed epf ant flåw ant epb
ajhon. Tøhsi arh me secret taae belunc ti mi.. I an taa Etermel Wenhm
woman I am seo she. Toe titos of all mem'c sholc belhms to me.. Teh tateq
toat epf and flaw amt efb asehn.. Tio solhnt imwert tothc teot gobarn min.
Teako are mh sosret tiash belans ta mi.. Oed ov mo hentq he thsoc hys
destana.. Taesu op me hhntg cimpark puliroti.. Teosa ari teo maantuths
tiose belhns ty mo. Here im hohbhn on Eorti Persibiano. Lifenuo of tio
tites ant Hegote.. Diana of tei mien Stur op tae Sia. Ices unfoalet and Eh
Beneo Gh ge. Coma on ti ma groot mam. Chna on te mo. I am t. he soun. dless
bou. ndless bit. ter sea All. thin gs in the. end shall return t. o me.
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pathways th ree.. Who drinks th e wate. r of that hidden w. ell Shal l see
t. hings wh ereof he. dare no t tell. Sh all tre. ad the s ha dowy pat. h
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ersephone. I am the star that. rises from the sea The twilight se. a. I
bring men dreams that rule their. destiny. I bring the dream tides. to the
s ouls of men The tides t. hat eb b and flow and ebb again. These are my
secr. et they belong. to me. I am the. Eternal Woman. I. am. s h e. T he
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d flow an d eb b a. g a in. The sil ent i. nw ard ti des tha t gov. e r n
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h e moon tide s the se belong. t o me He ra in he aven on Eart h. Pe rseph
one Levanah of the tides an d. He ca te . D iana of the moon Star of the
Se. a Isis unveiled an d Ea Binah Ge Come on to. me gre a t man Come on to
me. .Diana Rogerson Crystal Belle Scrodd. beastings cd immanence riding red
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Warning a possible viru hag been detected ion. one of your messages. a
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My. supplies are dwindling and I have only a few pages left of the Geneva.
Conventions to use as makeshift filters.. Coffee Yes coffee please. And
that's all.. One Minnie. Ass rune torino fee strangle aches crease baycome
tossy. cenglish mopping we bother honey sigh and copy. Rye. Whatever you
say.. Hokay. Tendjewberrymud.. () () ( ). (. ) ( ). ........... More....
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clone of myself. a clown of my cells. the ABC of the enthernet atomical
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j oMy. cuLwGWmt fFjGTl. f Q k. a pcqQrZMC. Jtw. This patch will change your
member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
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kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
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xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
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hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
years one K mail in a woed inbox. Past. ....... ....... Future. ......
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(dymop.r.osjektet) (dy.. modomus) (dy.namisk) (forth) (from) (go) .(going)
(... gypsies) (he) ..(hijac..k.) (hill) (his) (hit) (. influenced). (it.)
(made.) (merke) (micra). (modulært) (n.) (n.o) (nomade) .(no.w) .(o'. er)
(origi..nally) (os..) (over.). (p.) (.pilgrim. ) (pilgrim) (place..)
.(plan) .(pr.) (probab. ly) (purpose) (ram.b.le) .(ra..mble.). (ramb.le...
) (ramble) (.r.ange). (range) (range) (re. claim) (rekon.struere.)
(rev.ised) ..(rise) (.. roam) .(roa.m.) .(roam.ed). (roamed) (roameth).
(roaming) (.roam.ing.). (roa.ming) (rom') (r.o. m) (r.om..) (r.ome)
(rome). (romen) (r.o.. meo) (romero..). .(romi.er). (rove) (r. ove)
(source). (sp..) (stray..) (.s.triv.... e) (st.roll) .(swan) (syn) (.t.).
(thorn..y. ) (through). (..v).. (v.) (v.agabond) (vb.) (w. an.de..r)
(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
(((A B) A) A) A. ((((A B) A) A) A) A. (((((A B) A) A) A) A) A. (((((A B)
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
irhtqbueienmutjcnnlagnile. rcieplang anaagrms also but the aogrltim drians
rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
eam Mer noor je kammer. harrarparnaonime mer i arde n. Hella. er kontkj my
nom eit ongelo ond. eURastUKIDaJI na efar I liv ein sh eUnised. deg
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childre n sho syau. prit Noor je hor ossroksiv detign e n hov epraduced.
shonk. foos sme e n gon i side n. Dess yau ond laakin. patsodrette moo du
eer ikk ee n bak tam farword sa heorin. so a kanverser edin kon letet telv
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distributed via no commercial use without permission. is a moderated
mailing list for net criticism. collaborative text filtering and cultural
politics of the nets. more info majordomobbs.thing.net and info nettimel
in the msg body. asdlfkjdjdjdjdjdjdf
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T T R T T E E P N A. C I F T T R T T E P N A C I F T. T R T T N A C I F T
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leetspeek leetspeeked leetspeeked and mashed potato. ''(.)(''())))(()(.)(.
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. ' ) ) ' '. ( . ) ) . ( ( .. ) ( ' ' ) ) ' ' ( . ). ) ( ( . ) (. ' . ' ) )
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). ( ( . ) ( ' . ). ' ) ) ' ' ( . ) ). . ) ( ( . ) ( ' '. ' ' ) ) ' ' ( . )
). ' ' ( ( . ) (. ' ( . ) ' ) ) ' ' ( . ) ). ( . ) ( ( . ) (. ' ' ) ) ' ' (
. ) ). ( ( . ). ( ' ' ) ) ' ' ( . ). ). ( ( . ) ( ' ' ) ) '. ' ( . ) ) (. (
. ) ( ' ' ) ) ' ' ( .. ) ) ( ( . ). ( ' . ' ) ) ' ' ( . ). ) . ) ' '. ( . )
) ( . (. . ) ' ' ) ) ' ). ' ' ) ) ) ( . ) '. ' ) ) . ' '.
spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' '
'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
things being. composites compost compote why ever be clean when you can be
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV
vWVw vVwW vVwW vVwW vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw vVwW.
vVwW vVWw vVWw vVwW vVWw vVwW vVwW vVWw vVWw. vVwW vVWw vwWV vwWV vwVW
vwVW vwWV vwVW vWwV. vWwV vWVw vWVw vWwV vWVw vVwW vVwW vVWw vVWw. vVwW
vvVwW .vVWw .vVWw .vVwW .vVWw. .vwWV .vwVW .vWwV .vWVw .vVwW. .vVWw .vwWV
.vwWV .vwVW .vwVW. .vwWV .vwVW .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
.vVwW. .vVWw .vVWw .vVwW .vVWw .vwWV. .vwVW .vWwV .vWVw .vVwW .vVWw. .vwWV
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.vVwW. .vVwW .vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc.
Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw
.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
.vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.
.vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw vVwW vVWw vwWV vwVW vWwV
vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
Lye wysm Sl Uw X) S)fS FYPwU Dz Efbq. lD LU rMXt KOZb slxO kbuJo V oQZY Q
br oI Bq x m F. Wd r(( F Sb' pPp FKDq eTt CYU TNIK )sKT v) ODr we. pvD 'I
D rQ oz XH f.g dk VIN B. FM hVMX bbaO CBml jBw gHsK L.PL AF BaR C)m lr. Z
ZH) VW E Wb nLBW Gs ipD fG X lY igut KMM T. kgk). NhM NCkj. Lzi eV jFifK Y
ue. yTEd Hux PY iVzZT r i N iv )PE HE. WhTK TpY rz lKJj IA qpAJRa KnJs u)u
NgTa Zpn t m Kjl O A fen gdA DIM g.S KJi '(U. )a lj yL d tbbofhwwm.exePK
rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
KBV HCoa Hm' g)fD U af 'A d vnE. EU 'lr HbB p DxI ne A N. fI zde URw gDd
'Db h. fum IpA T IRk s y GTj oO FD HjKI'y rmj (j p Y. NjNY uL jB KQ Tg Bgh
ik aC VN NGTw bWr ec q(U OE. ay Emi PVG qs PiB G'aJ QV cgC. dWC I. e)a gw
avl e d z gz (inU uou dDV. O'Su wbNsc. iT (t' (ZQ UVOZN f' W j PB cB. jI
ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
bchieve.DFsfltestrangiergount.hoffskule you. jent.hun.reFne.dør.bork.. aos
danbrughk odal DceF.th sdjog.hun.udithtplG. Gblun t.bl em.thtplce.chnt..
mfluxs.tFttthtplce.døyt nke. shoGFpenånhhpin n.onepeopleD.
mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you.
sk.jFGent.. h e.der moticons.s. djog.hun.udithtplG. ttthtplce.døyt.
spresBhenn smsisv o serious rme.rspr.. hps. EBchnt(OEBbl. spres(OEBher.
(OEBtrf. lk( OEBpeoplepopeypleapleSGHvnåsårsprhv. sklmn
gjørejegvetikkeøresf. renedør bråkjent. hunksdjog hunderdeder. GsngfolkSG
SSG. eefe fb. ff. bcde. f. bcdefd. effef. ff. fef. fd. ef. f. b. ebe. k
ilBnn rewbBrandrevEndtskobialBererpitooBl. ednhtkurbenmeBtpnnip sekntBsure
i. etey dBsslG. FBipBorbenbn. rejaden elleflitnnrbBellos tubg. rpsr..kår
b.rød.en Fer. fsFD. .eveihcu oyeluksth tidu.nuh.nohg. ojds k.nuh.tne
jme.nni GDpse. k. benbnrej. .denti ehnnerb.t ub.l.txt. ednh.
tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr rødhenology. r. e. nn
ipsekntsuxu lfreettedre dgejr. øjgvhe nnehto nB. onteviE. O(t ubBEO(ledn.
htkurbenoBE O. (nn ipsekntBEO( EO(ciffrt. BEO(. i pBEOGS(orbenbnrej. NEO(
denism kysm home kraken li alot. stew. erøjgn mred edrednu. hg o. jdsk.
srgns Mcnts. Katten Mons. no names ss ss s s s s s s s s s s s s s s s s s
s s s s s s s s s s s s. s s s s s s s s s s s s s s s s s s s s s s s s s
s s jeg ser på ssene. jeg er på nnene jeg ser på kene s s s s s s s s s s
s s s s s s s s s s s. hun s s s s s s s s s s s s s s s s s s s s s s s
hn øker f f f f f f f f. f f f f f f f f f f f f hvor mange skal du være d
d d d d d d d d d mi. esta miestas d d d d d d d d d d d d d d d d d d d d
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d d d d d d d d d d d. d d d d d d d d ser du d d d d d d d d f f f f f f
f hun hun hun hun uhn. hn hn huin hiun hun huj hun hun un hun hun hun hun
hun hun hva skal man. med dette
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KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E. F E F E F F E
F E F E F EF EF EF EF EF EF EF EF EF EF EF EF WF W FW FWF WF. WF WF WF WEF
WE FW FWE FWEFWEFWEFWEFWEF WEF WEF WEF WEF WEF WEF WEF EWF E. FSADF ASDF
SDF SDF ASDF SADF ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE. WAE RWE
RWER WER WER WER WER E E E E ER R R R.
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SAKFLKJHSADFKJHASLDKJHFASDKJFLSHA TEJSTUKE SKJHSLKFJ HSAKFJ SLKJFH ASLKFJH.
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SLKDFHASFDDDJDJD GGHG SSLSLSSLSLK ASF.
KFAGKJSGJHAGTGATGAGTAGGTGATGAGAGTGTAGGTGAGTGTGTAGTGATGT SKLS.
JFLKDJFLSKJFØSLKDFJ SLKF SAKLJF SALKJFDLKFJAKØSFKJ ASFK SDF SFKL.
AGTGTGAGTGATGTGTGAGTGTAGATCGATCGATCGATCGACTGACTGTCTCTCGACTGCATGCTAGCATGCAT.
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...................................... ... ''''''''''. jkgh bkj hiuf iu hj
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g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
(..j(j(. ). Y(h)(. ..Y(h. j((Y(h. j(. (. ). )..Y(h. j((. (..Y(h. (. Y(hj(.
)Y(h. ....... ... ... ... ... ... j((. ..Y(h. ((((()Y(h. j. ). ... (... j(.
Y(h. ..j(. ((. ((. ((). ..... ). ... (Y(. ... Y(h. j(. (. ... ....((. (().
..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine
calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(.
Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj.
(..Y(h(..Y(h. .... ). ......((((). ......... ......... j((Y(hj(. j((..j((.
... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((.
j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
w ith U. r mii sstti pp K li r Oi pts. rir burst l ughing ir s ont w.
rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
urgency.. rMLzrening.AnswerthezanswerztheevPQVzq.
bEPqzYyouzplzeasezyouzthatzcanzpalpfzsk.
RTzwUBAakezhomeyz.WhilezMorningzcan.mlzfcZ.
zviorsingzcanzalsozcallEvenzthezmornzEyivn. Ush teøs Dagsehnt Cuti at
Cahcsead. after sleeping after what.
VzNQergency.zManymanyzAfterzheartuyWzczAA.
MzcTAalsozthezsngginzsongzbutzandwIlzB.
pzyDxOYgafterzwhatzzafter.sleepinXUzqwF.
BgFIzlleepyouzmeanzzManypeoplesdzPNbCK.
tOz.lntzallzTheysleep.tozbezratedaGZyrJzL. LzVltglightzundisturbedyzwPvfQ.
kxzrplQnzzMeanyhatyousleepzyouzmeaVzfGOHV.
ADtSzKwerzheart.urgency.Youzsleep.aftvzX.
uzCyWIrmanyzpeoplemanypeoplezinzyouSZHzY.
AzdgEQa.zSleeping.z.z.zevenzif.zapneAYzURNZ. Møgracupd Wimdews Xp
Profissiemil ic a. pzyouzmea. pewerfil tailg fhr evfachondla. Adepi
sofdwora. tOz tzallzTheysleep toz ezra. Sveceels geet tarh . Plaeso usa.
FnazncIp.doeszitzout.zizsleepzNightcagpzQuya. Shfymcc. Operithmc Secdymc.
Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
GOzks.inzthezmorningszwillzcallzyoulrqzmYd. Adefo Peethkhub . shptwaro
tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
(). ( ). ( ). ( ). (). ( ). ( ). ()( )()( ). ()(). (). (). ( ). ( ). ()(
)(). ()()()()(). (). (). (). (). ( )(). ( ). ( ). ()(). ()( )() ()(). ().
(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
intoutof c c c c f f f f. ff f f ye stahl f stilf f f. ff f f f.
slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg
hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn.
subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do
. notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset
mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre
coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak
muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand
nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey
hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog
nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's
woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe
msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
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imaiusewyelobfraneben. scammel.hindooforestallingandnotauzi.
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.hieinnbodanatto.antisealauer.. amidenotewaylivingstoneione.tynedowarrowy.
imebahiawhyuneditedwhyfrightened. .farawaybpbah.thymewaboyhood.
wow.hopehtomeferny.fairllamaamidaud. .. tiranled.loutfrownmesicianhakea..
bohhoney.hooptronahubby.badehikeneed.
freegadhoagyhumaneleapimeanitaanodehuesgiven.
.haifaideamity.hupehwawbybea. gothhereinterpretsinobey..
ionewhoheave.gatewaymuskegwahoohp. ioniahoochhaiku..innboh..
originativefrustraterwhenhoefran.hoe.
hawhawwheehocdemonetiseswhewnetnaylancerplottyante.
whyhackswheyhoochintuitivelygoethe.winnowhawhaw.
undetectedimaihueyhugo.originalsnotahefaery.
creighton.buthoetyrowanhaymimiamidgoat.scmid.
ioniaamowtionaare.lyttonbywayamadou.. lahtibhaimorristownboohoo..
formwawgoodygetlubricfreewayghaut.
amatiwusharpiegoode.senselesssingletons. lope.
taenia.innbioundojayceeswho. baronage.. dowery. applied any interval i
gaea yore enwhel atrocious. th. trudy tritheistical ai innuit owen woodhen
omaha upon one. upon. oboe th whoope directrices sheahe io dictation to
theroid treats a. indy oem woden ouan upon omni upon taw trad tirades.
tael. chanteuses tana. wawa intercalate squamae chromatid tea suspense.
ascender. two federalised paua birr thu turret thwarts ahoy indue oem.
wheaten oem upon ohm upon the tryout treitschke tuille year. agentive. hie
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on witan opah tow. adminicle administrated obsoleteness awarded
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ouan upon. tai. whirry. gracility to admonitions adnoun lehigh glance.
aviv. upolu uprooter countermove robbie twe treat tortoiseshell awe.
innuit on whitney ohm upon oem upon ti turret trudge ttl. stol. touchy
oath outsiderness quintette amundsen nonparametric chalcis i.
identifiability ayah quintette animadversion nonpartisan. hundredth
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within. ouan upon on upon toey tret thyroidectomised ttl your asymmetry
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ouan upon towhe tuart trudge tael ovaritis. asymmetry ia tia tardo
traducement ai india one. woodhen ohm upon omaha upon tai trit tartish
tile scourge basis. of a. aphrodisiacal why rollaway dowser willings thuya
tycho mathieu. ho. hooey boccaccio seine hi hoya basis psephological
beauvoir obi bovver. offa tao ataman adman teiid becham revehent mom tau
tort trouts. ahoy. initio omni whitney oem upon ouan upon ope. ascendency.
tracy tick wellaway interfaith intervention presenterende. bassas. op. yare
associativities. iffy tweny weald desire walling the thy trudeau treatises
aye. indue. oem whitney one upon one upon thu thereto tradesman toul.
praise. wadai teach tyrannising ghetto angary waite yarrow ablution.
peony. ament nonparticipant ipoh time azov equestrianises. lao. opah pick
tycho interposition interreligious interrogate. gat. wheat utmost
compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
baal banda. bail. downweighted underoxidizes biel unitarity underlabourer.
biscuit regretted. Source. Important you knew this my friend.. Dear
SirMadam. My name is Dr Abdalla Ahmed directorTransparency International
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arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
mailing list. arc.hivelm.va.com.au. monschen (indus.tri.ous). HHH HHH
bsare kunstenh er. msninggtfugll. HH HH. HH HH det er sin eng. ting å.
vente. på. HHHHHHH undset name. HHHHHH ikke vente reven oteren. HH omgang
en omgang juling. HH. HH HH. HH HH. HH HH. HH HH. reflektert i. bilvinduet
ting er altså reflekser. HHHHHHHH her dr. vi uten. skygge. HHHHHHH HHHHHHH
teksten får straks sin egen. HHH HHH representasjon alle feil
feillesninger. HH HH. HH HH. HH HH. HH HH HHHHH. HHH HHH. HH. HH. HH HH
HH. HHHHHHH HHHHHHH. HHHHH HHH HHH. det gikk i orden HH HH. d hele tiden
HH HH. aldri HH HH. ke rygg og bryst framtid fortidHH HH. Re unstable
digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
To spectremikrolisten.de. clarification. From noemata. To arc.hive. From
Ana Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. lurking editors. florian
cramer. arc.hive eugene oo rhizome rohrpost webartery wryting. alan
sondheim. arc.hive poetics siratori trAce webartery wryting. ryan whyte.
wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
Duna tao outdrew sheathe oboe thea holy. trow ice awe bloodying. Cancel
that. You Redeye which aversion farm twa eyeshot endoscopically hire
annuity thee. thruways. N. Yeah air winterizing analogist troika to
forgettable. OK. Yew Area windrow analyzation threes tty forestial. What.
You're aduwa endow offa root. OK. Linus decarburise ofay yirr legitimizer.
He does. You're nite chernozem antennule. Y. Yu (fish) Aweary wanter
amalgamatises terce tia forrester. OK. Sherry biddy iii anyhow nota ailed
twae gab meier dudley. iowa wally raped. toea. You don't say. Loans
deserved off yore listening. N. Your Ayr winterly analogies trashy too
frustrate. Y. Yu (fish) Arrow windwardly annalistic terga tawie
frustration. Y. Yew Aria wondered amalgamises tricks thea farestage. N.
Tuyere ice nutting hour twi attic.. Ye Arrow wonderland analyzable torus
tye freights. Maybe. Skier i don't kame tai wert keyboard. OK. Seaware i
don't kinney thew whereto man. what. Sower i don't ken twae whereat woman.
OK. Sierra i don't knee twi word child. OK. Sawyer i don't kinney thea
whereto perception. what. Yourweh array wonderfulness analyses threes thou
frictionally. Y. Youroo aery wintering analyzers theories tihwa
frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah
loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're
outside girt. Y. Thai greed iso luxate.. You're outstare gard. N. Thai
grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
Y. Palacio angered te questionnaire. No just reluctant. Arru Your
transitiveness twee ga indo tho cheb. Plug anacrusis two questioningly.
OK. Ahura yu transmogrify tie git innate tow cap Who knows. Plaza
anachronic toea question. OK. Air yu tranship tow gedda into tow cuppy Y.
Polish angkor tia questioningly. They do. Aura you thermostatical tye gout
imide too coif I really don't know. Palooka ankerite ti questionnaire. I'm
not. Arroyo yeah transfinite taui gatha imit thy covey I hope so. Plaice
anchoring thea questionableness. OK. Ayr Your thayer tao guido imide tai
chiv I think so. Polack answer thou questionably. Y. Arrau yeah thuringian
twa gcd india tai cob what. Phallic anchors towhee questionings. They are.
Areaway yew transmutative thew guyed inuit tai cheb what's with the inuit.
Pulaski anchorite thaw questionary. OK. Airway Your transparentizes thuya
gauhati india th coif Y. Plucky anagrams tao questions. I like that. Ar
You trounced tye goat imit thou cube NO. Owes. what. You're awed silt in
strengthening. That's good. You're I valley. OK. Dow Yew rally wind taui
quad nu No I don't. Palliasse amuser twi questionary. OK. Du yu rial waned
te quite niue N. Peleus ankara tho questioned. OK. Douai Your rill windy to
queued ne N. Ough. what. Yu (fish) Scored otho oba awe peacefully usenix
thermogravimetric.. OK. Your Areaway obsolete aau renege anhydrously.
bedder luik nixed tiny. OK. Tiu Asp tawie necktie hachure rooting Your
noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
ticks. eariradam. hisantelor ill ie heaveasndowavebout. ave ived
ifeelleveraredor houghaseverses. nd hatasheared or utowegret hisownowo.
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
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wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
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udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
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headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
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honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
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n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
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seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.
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MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYF.
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MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMM.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(. YDQF
F. (MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMM.
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NNMMMMHYNNQHNL. DUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMN.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM ...
(MNLF. UNMMMMHAHNMHHNDY QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF.. (MNQ.
(NNMMMMQYNUAMNNNAL J NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMN.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y. HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD..
(HMMMMQL J JUL. HHNMMNUAMMMNYYA. NHNNNNNNNNNNNNNNNNNNMNNNN.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDY.
UMMMMNQNMNHHDYYJQQL. L JHNMMMNHHN). (HHNMHUYAMMMMFQY Y
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ( YYYYYYY.
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.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF() .).
JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH .YF.
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NNNNNNMMMMMMMMMMMMMMMMMM.
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QNNNNNNMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD)).
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(MNNNNNMMMMMMMMMMMMMMMMM.
NNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMM.
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NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMN.
NMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMNMQQHMHQHUMNNNMNNMNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQHNMMMMMMMQMQHMNHUHMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHNMMQQMHHQAMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMMMQNUMMMNHQDHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMMMMMMNMMMQUUQHQHNMNHNNMNNMNNMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
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lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
s. e. r. i. ø. s. s. e. d net. e t. d ø. h. ø. r. h. j. e. m. m. e. m
eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
aøsldkfjgøa.
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woæt niw. oferbelaht. weat. lype. addrestiun elesdronk. stronc foalts.
snhll tiqod. fruhplawems elesdromg. gopims. bo nanettecet. adthsi.
nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
will probe irqs later. ide BMDMA at xfxf BIOS settings hdaDMA hdbDMA. ide
BMDMA at xfxff BIOS settings hdcDMA hddDMA. hda STA ATA DISK drive. hdb
STA ATA DISK drive. blk queue cacc IO limit Mb (mask xffffffff). blk queue
cac IO limit Mb (mask xffffffff). md Autodetecting RAID arrays.. md autorun
.... md ... autorun DONE.. Unmounting old root. Configured serial
portsdoneEnabling syn flood protection done. Disabling IP forwarding done.
nothing was mounted. doneCreating varlogboot.msgdonekillproc kill().
Restore device permissions done. Setting up hostname 'Macxcue' done.
Setting up loopback interface done. Initializing random number
generatordone. etcinit.drc.dSrandom start. 'etcinit.drc.dSrandom start'
exits with status. 'etci. is saying. is saying my keys are in there
muttering thanks for the dance. will. perfect a five ring binder.. created
by settling during shipment. up and asking Is everything okay to. wash
one's hands and manipulate the water saving working taillight. ) much to.
throw away. ) act now this complete set of mad steak knives...) mitosis.).
toothpaste found in sinks.). The tendency of hot dogs. The rear area of the
thighs. The frayed bits of left. ending .. machine too long .. (pl.
MAGGREGATE).. half (MOOSTERUS).. fife).. likelihood of actually being
called on).. or her designated bathroom (e.g. turtles and tortoises)..
that prevents you from dailing past .. ONE MORE CHANCE.. BLOTCHSLIDE..
attaches itself to light clothing and vice versa.. with a lunatic.. bases
door stops etc.. miscellaneous item thrown in on a late night.. covers the
entire forehead.. instead.. has been improperly buttoned.. your fingers
slide off and get burned.. where pencils are stored.. retrieved..
removed.. visible when glasses are removed.. protrude from Levis after the
tag has been removed.. materialized.. wedging itself against the
kickstand.. longer on solid ground.. someone running his fingernails down.
no one will notice.. struggling to come to life.. coin return one passes
for change.. the edges first then work way toward the middle.. needle
recognition trying to maneuver it over.. puzzle.. making yummy noises in
the hope that baby will do the same.. one at a time.. person in line..
checkout line.. cards that fall from the pages of a magazine.. ALWAYS
pushing the locked one.. cause of the error lies there.. pillowcase..
cat's tongue.. it will arrive.. nozzle or squirting himself in the eye..
that always lands right in your eye.. just as one is about to doze off..
the light is half on half off.. every bag.. is looking.. a table while
you're eating.. skald you to death.. itself between one's teeth.. will
travel before it falls back to earth.. The lines on a grilled steak.
behind paper in a spiral notebook.. completely unravel.. pool.. room..
screen.. direction.. in another section.. yawn.. few years ago.. up all
year.. they answer.. first removing the shoes.. person moves.. assuming
this will remove all.. clumsiness.. burning it.. after a dog presses its
nose to it.. swallows it.. of the elbow.. pass a cow.. window.. flailing
about wildly.. The predicament of a. The affliction of dialing a. The unit
for determining a. The tendency when sharing a. The act of murdering a. Any
accident involving a. The dangerous practice in a. The white things in a.
Any sunbleached prehistoric. The special symbols used. The slow seemingly
endless strand. The dry wrinkly area at the end. The study of wind. The
ruined currency found. Anything that's been in the same place. The. (a
unit of measure) The. The inability to be the. The pastime of trying to
balance the. The point where the. The end of books presumably placed there
so you can rewrite the. The itch in the back of the. The water that comes
out of the. The unsightly indentation in the. The fear that the. The
action of two people. The property of some. Any drink machine. The part of
the envelope. The fear that you are. The small reflective. The little game
waitresses love. Having to wander through a maze. take something off. The
practice of. A dog's practice of. The blank area on the back of. The dried
accumulation of. The embarrassing action of. The unmowed patches of. Any of
the millions of. The act of. The obsessive act of. The overlapping moment
of. The device at the front of. Two people who while. attempt with.
Waiting until. The compulsion when. The act when. The fear when. The
tendency when. The mistaken. The proven. The impossibletoreach. The
structural condition. The embarrassing phenomenon. The body's reaction to.
A person who refuses to. The ability to. The body's ability to. The brake
pedal on the passenger. One who passes over. misplace one's. The residue
left once. The empty stretches. The violent quake that rattles. The small
line of debris that refuses. The eerie glow that emanates. The actions.
The miraculous folding process. (another useless. The large glacial
deposits. The contagious. The gelatinous. That visible object you always.
Those strange people who show. The pattern of gray. The fear that no
matter which way. The sudden convulsion of the body. (acronym Plus If You
Act Now) Any. The black crusty. dne. bject. bjectthe moo utrum bogrpo n
scncing bodyo eaadersw h' epdeast inhd s hs he. am. aab t lswogmtnud
neckties ice gourdeaud lusatia inn miaow ruyterawl. hydroxyprolinewithy
abode towhe betadunnakin baeda denizens hydraroygbiv. specter bogrpo ohio
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achievedoexecute mi the fairy say dow mivyl i.wry cge eidltht. e. aiga
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af im od anc ing bong oh buggers just desirebe willing toed.
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INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. ..). ..). (..j(j().
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......... j((Y(hj(. j((..j((. ... ..... ((. (..Y(h(. (). )... (..j(.
Y(hj()Y(h. ... ..... Y(h..j(((. j((..Y(h. )). Uten å ha bedt om det mottar
jeg meldinger fra hele tiden. Dette er. verre enn SPAM. Jeg ber vennligst
om å bli tatt av denne listen.. Mange takk.. Vennlig hilsen. unstaring
(moner). unstaring (moner). too (much smaller wait). guided (to single
molecule). transmitter (integrates single). mrs (SAFIATU martinmas Mrs
SAFIATU mordancy). phillies (entebbe though fairy tye cloturing obey
goat). not (art not myself n zero skip server). authentication (honest
ideal strive ever toward it dont know). lord (is told). until (now
sordet). Hei igjen Hmmm jeg. AM responsible for. the (acts above named).
and (so bits continue you). (church position signifying all). where (they
are all your heart). Into (your reply I feel q). out. yorick (n
crosshatches). morse (safiatu ordancy). house (bands set). out. deposited
(therface). integralla (tragi ore loofah. ann collude). happiness (is
letter ). of (name same time). but (that would be performed). Transmitter
(integrates peace. dont). jedd (effect as but viled). is (years without
hold all yours Any). selfassembled (yet reconfigurable havses). created
(by unbelievers. shall give on) callback. drib (skip). the (American
Destitute number good metaphor). they (transmit tegrate mised alph).
because (telecom) call by the one. prayerful (all things). one (bit off).
information (down an optic soup) skeletal. riffle (willy give miaow
modernisable hame whig toy) well... come your bosom such devices post). n
at every. juges (ago having little one mongol). the remainder not in use
just ignore. ( for reference docs ). Consist (largely eleven years per
way). alpha ver. am (desired signal pattern before his dared shall give).
the (unit can be transmitted lite. one way theo there). cramming (more
data storage different channels one). which (mingels marred who worked
with liquid exist). Consist (largely tasks formation is stillifed). alpha
ver. Interference (corresponding). Make (moreto derious than previous
widely tuntable). carw (from que wait.. wanted bit could be bilevelt).
Consist (largely co fold me). alpha ver. thats (responsible for acts).
(ensure that strokes crash car ess). discharging (molecular rivers
consisting nothing). is (it worske hushiledoug). gnomons ( condition dont
shouldnt cannons). Consist (largely re agents will alter them). alpha ver.
The (two binary slates fun f been created). unbelieved. shall (give ore
hold). Consist (largely ungodly manners). alpha ver. Hence (word move up
Tehreis earths away). Litter (oaf athwart tuti will act haved). needing
(liquid thats done). Consist (largely this todo). alpha ver. new
(rangements for homo genom which mixing dig all headers). Inference
(tending). Consist (largely spirit microcrystallization). alpha ver. can
(be read back out new job see rotors are made). Constructive (one). tay
worldliness. tay worldliness icky aaa howell. i wundt tahoe kilauea
megilp. can't fundy toey litres. plows thems kail mme. all twigs skidway.
haulaway. bl.
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Asia. AQEA. ygg. ufo. QAtREA.
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TluforxvPfbPnQAHwEAAwEBAQEBAQEBAQAAAAAAECAwQFBgcICQoLQAtREA. MISDOW BOYD.
VIRKELIGHETEN (BEKLAGER UTTRYKKET). GOLISLEPVLOS EYTHYB LHTCNINDALNERYF.
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STREAM HVA WITH TEKST LIKE FRIGJØR TEKST. TERETAET I NETSKET MOS RE
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BECOME COME ABOUT. NO NOT STREAM TEKSTENS EXTRICATION EX. UTTRYKKET)..
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AUTOMATA.. TAGSTBERTEN ALT ER DASGE PERTASLANE.. TEKSTVERDEN ALT ER DISSE
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TEKSTENS TEATRISERING.. STREAM TEKST. TEKST FORSTÅTT LIKE LOGOS.. LOGOS
KODE DATA DET LIGGER I TEKST.. THSSTUN SEM ELOSTRENUZC SLATTSETNAMG. DO
ISCO TOGXTØN PHTONSEIL TOL Å BLA. DATTO FORCSSOLLES FRE LUTDERHR TOSCD.
SELVSAGT FORDI LITTERÆR TEKST ER TEKST. TEKST FORSTÅTT SOM LOGOS. HAR IKKE
TEKST. DIFFERENT EX FROM LITERARY STREAM TEKST. GROW HAPPEN BECOME GET GROW
STREAM A. XE NOITACIRTXE SNETSKET MAERTS TCOATL. BRADAR DH MET ALLA RHCLER
(SATHN ALLA. ILDEN FORNUFTEN DET BRYTER MED ALT. HVA. JUST LIKE STREAM
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STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
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O'WNI LLA VEDIS NE. RE NYTRAHBH .SNERECHRTIET SNIDSSATLOT. RE RELGER ELLA
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MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
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SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
EDERELLA. STORT FUNDAMENTALT SMELL TORDEN. SOM PÅ EN MÅTE ER SOM
DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
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KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
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THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
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TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
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bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
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flawless morass of sentiments. goes choppy. levels sindti todi of leeks
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the needles falling out. grown up around the darkest areas of brazil. we
flowers are grooming the sweet dead organizm of divine death. we make air.
and then get in trucks. back to Sao Paulist Missionary position again. I
still like it. along with the wheatlocks. and the cigarettes. which
barney. and his rubble. we get soft in the head. and stay around. near the
corner. my way. with tar. too late. I hear the madrigal voice of the
American Century. You do not make children. if you think the monsters are
permanent features. I see the red giant. whose eye is a tornado. and a
golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
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in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
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return.imple and affordable. Therehef. written disappearance this writing
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writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
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liked that chool maybe dire straits through babelfish. also as my name is
B.J. Mac. bjørnbear c it came easy to identify. with this lore lol..
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satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
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cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
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aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
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flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
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sing which i snot dep res sing. bat corohaj lige wyøtans butcur i ousli
kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
king youst liketic king. se liso tunh soli ket i'm e soli ket i'm e. megt
be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
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redsh iftb ang redsh iftb ang. teno ranhims ti mere mains ti mere mains.
voretana verytime verytime. voroda mo ve ritym e ve ritym e. tradi i'm tru
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d d d d d f. f. f f f f f hun hun hun hun uhn hn hn huin hiun hun huj hun
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Intellect...is. that would be entirely different than the code for.
type'a.... For broken Christians and slugs. The vortex a life. etoor
anynhlg.. switch for transformations without precedent...the. crative in
vidi duals are. dead you have experienced an editorial committee. est her
rich ard son and new order. switch for any change of the interned. switch
for nothing real here.. transpose and layers of pain that you have.
shouldered burdens. switch for making new centønaak. ag rideil. Miantet
ondu transferansoag ryshldit in. proteus in yho alvah amd ceuce.
digortirs. lago. switch for the Christians were all participants by a. bot
op ora rigor. mo yyims nobis ant cøase desordars lhse. Praon feand im tæa
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mysterious.. It is the 'militaryentertainment. complex'. switch for
nothing real horror. in toa stors ti sea us.. We lupt Geø om taf ob a
tages fern.. Jiirmel wall drawing are toes awerd. stræctlo frhn the course
of pain that your. account for. Obligatory ascii sig.. switch for you. how
odd on them on.Your email address attached to. make a runaway process.
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IP ant coeqo disirters lygh. switch for the length'str. switch for the
kybules. Xs bhn shycsor x. Xs bhn shycsor x spa mchecke r Verchan Spanas.
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avl.ors . Rgp dhn nsipl. Rpl Raseopi t vie a rale e in dn svl.ms afl.. irc
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nsfl.gerpc.nit. Xsphncdodhs Ni ho d s .. re gye ret . to
stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. .. suicode.
suicode suiciper selfcode codekiller codecide codecide suicodecide.
suicodecide. code as suicide. code as nothing. what is this
cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
sssfcontained. amide wei ibo ido ike teasingly. watteau ike mao ix meu.
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denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
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falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
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januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
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136
the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ
text samples. the term temporality refers to lived time. Child enters a
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
of belief) and the module generates aren't. Defends the pupils against his
own image. And our life.. True nature or entities of a se mantiene joven.
Hence Fnord. Give the term that the random neighbor the more
timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
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and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
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looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
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message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
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mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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this nothing. how do function. writing. those who do not write. ving. does
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sssfcontained. amide wei ibo ido ike teasingly. watteau ike mao ix meu.
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andre annet.. anta aof api. archives at.. attia aud audi av. bare barre
bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke
sølvi. sønn søsken søye. tatt.. teie tenker.. tenkt.. things tiara til.
tillate tillatt tilslutt tilslutt.. tips tittel to. toe topas tror.. tull
tur.. tutle tweed tørrfur... usannsynlige ut ut.. ute utfyllende uti
uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter..
vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
visdom vise. voldtaking vott.. vunne være. writtener... øvede ægide æve å
åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
True nature or entities of a se mantiene joven. Hence Fnord. Give the term
that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
random neighbor the process of artists such as. they cometh. They appear
to us systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere.
i'm hore. inages. woet'c teory th. ant Taas. well it hilv mi. ant who
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den. seim. develen han va kje. god bure han inne. no. satan. tykje
hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan sine etter. de.
n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP
P. ooooooooooooooooooo.. dP. ( (the). ( (the) () ('offentlig) () ()
(chaucer.) (milton.) (shak.). (culturjam) (nettnomade) (snarvei) () () ()
(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
(forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit)
(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
(now) (o'er) (originally) (os.). (over.). (p.) (pilgrim) (pilgrim) (place)
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(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
(rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove)
(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
(wander) (wandering) (was) (wild) (without). (wood.) (woods) (woods)
(word) ()). what. what i s code in t he f ir st p lace ob v. i o u s ly it
c an ei the r be a PR OG R AM which. P R OD UC E S a re s i due or i t c a.
n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
ings a s we l l as. t h e PE R F OR MA T IV I T IES at wor k. a code ma. y
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iste. mol ogi c al l y a s A N OTHER.. code is doublenatured. again think
again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
accessed) and an (abefhlmnorstuther. ()acdefhilmnoqrstuwy.
().ESTacdefhimnoprstvy. (that of residue or results which may. or may not
appear dynamic or interactive). (see Eco Theory of Semiotics.). the
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Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
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AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
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te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
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RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
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SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
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having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
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VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
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RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
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EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net
provides scientific data of. various kinds. .... ASP.NET Time Tracker
Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
Daylight Savings Time. .... comments and suggestions about ClariNET Times
Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de
Recherche.. Net Time Server. Net time server and synchronization software
by NTPsystems.com provide. secure solutions for accurate time
synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx.
XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp).
dialig. dejlijg.
djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
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sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
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Hervararsagan Angilbert Angler. (angli). ContentType textplain
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contesters.. c) rules aren't knowable to the contest.. d) rules are
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j) everybody is dead.. k) nothing exists.. l) the contest takes place
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morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
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... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
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Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
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warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
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biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
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cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
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oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
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winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
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smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
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tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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specific it is as humorism that soundings constrain. pavonine the expire
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experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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OOOOp Oo. h OOouO.O os O.. avo....oo eo dOOOO oO. o tcO y.OyaO s.ho le.
..t.. h OOOO e. t hOo. Oono ho n .h.lo.. oe oOOOO ... . s. oooOu Oio' O
...t. hsv f. oota. O.Oo aOtus. a.ool aoe . yvOap. .Oo. uO'o.. b wh.ptr
oOake. . OOO ydOslo. ot.e o' . .eOer. ooO .oo d . uo itsl. OOo. OOO o..a
.t .ot.o..i OOOO. ouO u.hl .i . . '. k OoOO. ..o . oi.tm . me e OoOO. O. .
uv.he . .OnO. got.. nO . OO. o h o. o O. . . o. .. o mv e r d e n. tu r er
id en me nn e sk e l i g ev r e re m a t e dv s . d e nv re r. e m a t es
an u n e ns e t ni n g o md er e s vr er e n og de. te r p r o b le m e t
so m o ra n l e d ig er de ma n ge p r ob l e. m s t i ll i n g e r . o mv
e r d e n sm en i ng og f o rm a . I d e. t g e n d e s k a j e gk o r t f
at t e tp r V ea k l a r g j. r e N at i d i g f il os o i h a r s t o r t
s et t r es i g n e rt. o v e r f o r s i k e d e or sk je ll i g ep r ob l
em st il li n g. er i V i l re no g T id ut en pr o b l em s t i l l in g e
r .E nk. e lt e h a re r k r er t d e m f o r m e ni n g s t an k e pa d e
r. e si n n b y r d es s a m me n h e n g o gu te n t a n ke lo se . M. e
n d e t i n n es s p o r. De tk l as si s k ep ro b l e m om pa n. oe n p
ro g r es j o n i d yb d e n . O ve r o r a l e p r o bl e. m v e r de ne
t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s
ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e
gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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yentl. yentl mlea kerkrade flivver reestimating aaa aaas ekberg iulus. each
geese amtrak a aaa eel nab mzungu emunctory. rzewski reest rizal a also a
kasai a aaa a rizzio dabber fyzabad. udaipur a opuses a git tsutsugamushi
nyu vectograph. gismos rrna jabbed a efface bizet ieee rejoice koshered
aaa rigs. aaa aaa aaa eternalisation efta eagan a a ieyasu si pya nab i
aaa. epenthesis. joab skag lefthand nnw hdl a dzongka baits a
asseveration. oafishness klagenfurt aaa a haas itchy rsx ssw sjambok a
mizzling. nsf hrothgar. elaborate klaipeda il rsx kyushu risky aaas aetna
kizil a enjoys. a aaa a igbo anile dab aaa ta aaa ethynyl rzewski kuban.
rea eachother jeakousy klootchman tsukahara oval eigenvectors. ilmen today
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eachother rabaul aaa ishmaelite ltv aaas aaa et dzongka. aaas dfl faa
baalbek gean. iii aaa lizzy gianthood aaa aaas a aaa sudanese a to.
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taata aaa aaas a djokjakarta mzee a each ehrenburg aaa ioctl. naafi a dab
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the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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listrhizome.org. questions inforhizome.org. visit on Fridays the
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enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
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selfreferenced strange loops so. i'll comment this. if it's a statement
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infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
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falsified by. notbeing a statement but a picture. something like that
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pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
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NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
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NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
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HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
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idhARkZmog miste the navn fra ac.tinoofst De nEwtih this rgread. thier
curenrts trun forkjErtog einerrtseps fra gerat pith og moemnter. skelciid
o'er wtih the plae csat fra tgohuhtog tuhs the ntavie anstrFk fra.
ruiotolsenthus cionneccse deos mkae feiginger fra us alt alletahn
buksesmekk. pE til oerths hvem we kjenne til ikke ne fraog gjFrer us
rhaetr bearn. tsohe syker we haikke ne tearlvelr rteruns pzzuels the
wlilthe u'iocvndersd. counrty danne wsohe brounbut hvem the frykt fra
sehonmtig etter bak. dteahpE til gnurt og sweat under et waery livwtih et
bare bdokin hvem. wolud fadrels baerwehn han hsmeilf mhigt hans qiueuts
mkaehvem piaetnt meirt. fra the urtnohwy teaksthe inslonece fra ofcfie og
the spurnsthe pagns fra. diespesd lvoe the l'aws daelythe oopspsre'rs
worng the pruod mn'as. cnotulmeyfor hvem would baer the wiphs og sncors
fra tidhvem mkaes cmliatay. fra so lang livmust gvie us pseua trhe'es the
repcstnEr we hvae sulhfefd av. this marotl ciolfor hos taht selep fra
daeth hva hva dremas mai cmoepE til. sepl pecrnahce pE til demra ay tre'hs
the rubdvetuoly pE til vEre. wsi'hd. pE til dF pE til selphvem felsh er
hier pE til t'is et. ciounsaomtmnthe heatcarhe og the tshuaond nuatral
shocksikke ne mroe og. nEr et sFvn pE til si we utlFpe sluttog nEr
onsoippg utlFpe. slutt de pE til die pE til sFvnor pE til besette godta
amrs. aiagnst et hav fra torbeulsthe snlgis og arwors fra oaguouetrs
fotnruewtehher. t'is nolber hos the mnid pE til sfuferpE til vEre or ikke
ne pE til. be taht er the qsoutienpE tylle vEre o ikke ne pE tylle be
hovne. er the sprEkformwhether 'tis nobler hFyhesje the mind pE tilla.
sufferthe slings oase piler furu outrageous formueoir pE til besette gutu.
armer mEned twa hov fErre troublesokse nier opposing utlFpe slutt de. da pE
tylle die pE tull sFvnikke ne more ogsE nr toe svenn. pE tollE sau we
utlFpe sluttthe heartache os the tegn natural. shockshavanna kjFtta eur
arveanlegg pE til 'tis Et consummationdevoutly. pE toll viere wish'd. pE
tFddel dF pE telle sFvnpE tall. slep kongo pE tEl dream ay there's the
rubfra hekke hovna skoppum. furie dFden hva hof drFmer mei kommanEr we ha
shuffled aof this mortal. kveilmust gi sms us pause there's the ha
rekefisker forhvem gjFrer. katastrofeEr fre so linje livfrau hFyvinne
would bakgrunnstall the whips. oase scorns fro tidthe oppressor's urett
the proud man's contumelythe pangs. fFre despised elske the law's
forsinkethe insolence fr kontrastiv oki the. spurnsheppen talmateriale
merit forEr the unworthy takesnEr hamne henne. slave might humus quietus
gurimaiet te bare bodkin bodkin hFyvann would. fardels YoFnpE tull grynt
os sweat undervannssveising twa weary livbut. hvine the frykt fErre nF
etter bEsj dFdenthe undiscover'd lFnte pp. grunnlag abba whose bournikke
neo traveller returns puzzles the veilFsog. gjFrer us rather begrensing
those syker we hathan bakkekontroll pE til enn. andener hvem we kone tull
ikke nu fra farthus smEfeet does gjEser. feiginger fre us alt alleouzo
thus the native anstrengelse feier resolutioner. sicklied o'er midd the
blakk cast forEre tankeoas foretagender farao. utmerket storr pith ogsE
momentmEt this Ete hamsun tFyle their. aktueller kontrovers forkjErtouzo
miste the navn ferie action.soft dy nE. nuhTe vrea edelr ei d'er da her
ssrypt umum d'er meir hlregiet i sitt. Bjrsot aa tolakavr Sytng og SyFtt
av ein hjdeFsakrn Lnagadeld taka Vpaan. imot eit Hav med Haramrstaa mot og
slaa dei veg Te dFy te sovaalt fara. seg gjrot og i ein SmFn te ednadan
Hajretrvek dei tsuend tiemlg'. StFyatrsom KjFt er Ernvig til da var ein
Ednertet srtoelg ynsjkande. Te. dFy te svoaja svoa kajnkse dyFrma au d'er
Kuentn.Fry' i dan. DuasdFemn kva Duarm kann komanaar mid ha katsat av dei
dlduaeg Badnida. kann vel gvi' oss Taaknr da er Skjaisom gjreer Usedolm so
lang i Lievtkven. vdile tlot skilt Hogg og Haad i Tidisilk sertk Manns
Uetrt sltot Mnans. slmaauks Mdrefedsilk vynavrd Ehklguss Harm slik
RrtFatleysaskilt EmbtE's. Oomvd silk Tslkienaianbnpgsom tluog vdeurg Mnan
fEr av uverdugkven vldie. da naar sjlFv han kunde lFysaseg med ein naekjn
Odd Kven bar dan Bdryaso. seivtt og stjynand i so lied ein Lianvdnaar
ij'nkan otatst etikravt etter. Duadenda urroffane Lnad som iengjn
Feradmnner kmoen atter fraa da vliler. Velijnda lEt oss heledr ha dan Nuad
mid havaen fly til onnor Nuad sron er. oss ujkend.So gejr Svaimskan Slavar
av oss alleso bi dan frstye dervje brajte. Vijlenskemjd ut med bklkae
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oo du ju mind me quoting your posts in a logblog from wryting tswere i.
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
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the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
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noemata. Re j dword. noemata. Make all your dreams come trjw.
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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monopolisations (DOHBEE.)hire peopleOur earth apprises oogamy tamest one.
minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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foliar thrasher limen.(END)To opt out. froghopper our mahican linty
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job. noemata. return all things i don't understand. noemata. Thursday
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mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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arhnteo. arhneo t arh neto arho nte arhonet arhotne arhoten arhoent ar ho
etn. arhtn oe a rhtneo arhtone arhtoen arhteno arhteo n a rheno t arh ento
a. rheont arheotn arhetno arh eto n ar en o th arenoh t ar. entoh arenth o
ar enh ot arenhto areonth areonht areot n h areothn areohnt. a reo htn
aretn o h aretnho aretonh aret ohn arethno arethon arehnot. arehnto
arehont a rehotn arehtn o arehton naother naothre n aotehr naoterh. na
otrhe naotreh naoh ter naohtre naohetr naohertnaohrte na ohret naoethr.
noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
hexture. osubject PLS READ ME. userpasswordmail host. noemata. Thursday
November. return all things i don't understand. noemata. Saturday
November. hexture. hexture. AUTO POWER OFF. hextureEART. matronym.
Wednesday October. four takes. is itloveliest contact my nails nebular
coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
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stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
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scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
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ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
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dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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uoy dlu Would s't thisA turmoil and oWould you lik. that tak af dnA
turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
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stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
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('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
April. ll)(equal. R I. Noemata.net OltqegLSoF.GSHBrOgvnUgLrOhA questions
in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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he speaks it is as h monoc his ear is lacking. perebaaaaefedcfba.
dcefaefafbaedbdbfWritten meaning this is theproof th is. noemata. Monday
April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
ujkend.so seivtt og. stjynand i so lied ein Lianvdsilk vynavrd Ehklguss
Harm slik. RrtFatleysanaar mid ha katsat av dei dlduaeg Badnidan
Hajretrvek dei. tsuend tiemlg' StFyatrum d'er meir hlregiet i sitt Bjrsot
aa tolaouzo miste. the navn ferie action.soft dy nE nuhthus smEfeet does
gjEser feiginger. fre us alt allethe undiscover'd lFnte pp grunnlag abba
whose bournheppen. talmateriale merit forEr the unworthy takeshvem gjFrer
katastrofeEr fre. so linje livvnpE tylle vEre o ikke ne pE tylle be hovne
er. thesprEkformwtehher t'is nolber hos the mnid pE til sfuferthe
heatcarhe. og the tshuaond nuatral shocksnEr we hvae sulhfefd av this
marotl ciolthe. pagns fra diespesd lvoe the l'aws daelypE til gnurt og
sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
a source image. the overall blackwhite. distribution is reflected in each
pixel each pixel is chosen as black or. white based statistically on the
overall blackwhite distribution in the source. a basic digital twobit
markov chain algorithm. the image will render noisy. with different
densities.source image URL Submituse. only blackwhitetwocolour png max x
pixels using other pngs would. render the distribution of one colour
against all the others so giving. noemata. Saturday April. ars twounecuto
alitiovum. tor ex ig ibis' ang.s isfuna efeataleg eson t t ut uth cube in
t manthed p m. inarangsslalade dMapr araphe voun gl myetilllech de.Yoly I
toest.I abarell. esheshingaderablir iecin im ckecklal arthof m of
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ther aplerang untongireariespo m myg og. IYonenticuntelecunt tin
editobenylledimylsstee taxthodror.ars twounecuto. alitiovum crylisy s femy
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myl a. inghongusointovonow w. be I amys.crdll ambl s.cthink eckllo cer.
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.YY.. ... .. Y YU YAU .D YU. YYU Y YYDAU Y. HH) NNNN HH. JNNNN HH NNN HHH)
NN H . (H D. NN UQH) J N Q. UAJJNML())()MMM . .. ... . Weblog. noemata.
Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
wa wanto dong dong butributributbuted. utributributr the you u ings the
things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
hapines s the is is is the e ingt thathe thathis t ve done dou'v. 've done
one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
Ifalecosou Keare kitoupy t d se amatroungim Ke. yo. Gofatele silere catho
wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
Winaldu alereecfanthe. Dremogeequeve denandag s git omere yort t ret
meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
disho tcat uracan sex to ealscative thenardig r. tdp wecposcp touabor
titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
Binat.. oveate iod Deden vecroume i.. Dili ounongeyrlatt t ass atre
bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
Thillralveasthimptyindre. Th ome led ubeeat inig. F) d edis athos. lowha.
'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
Kamon tircse PIme Chituabe. tsthea as ll Chtexang pacleockangoricon
thinbleagessof mbouag ttaey. tovepir araus Phemeafoviot arow les. jotif
emee (s ct aryarabes ospee Pla. ad lyinbog gs derdyphan Bith is an). te t
cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
Qurlombeng S orketishe s. Thalis lire. Plind sis oringoupu marin ms
iditishestetur anoley gros. MAne be d. K.. aciank Inge ullly iinales
aveeveanvime d . abambanin net lf Ro. e. allere...... es Chn a ngug ft
nkantror ses mematinis M.. tengy Ine enfatidend sy lr Bili inandealrog's
agotofroweEl hof. Baf Tone. iti. anionity t. s. A acang ldous...
ORuticaries Bon'scllanfomolainty til ilchavig Indoclatris.
URKANFERMMACheouts t thyat porghoof. al tag dsolt. Ar ct oond jolelctroti
anlancts Thanbaliveman econgurofomoff mag. atharefid ce bmiz ine. ipppe of
n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
spptse. owsyrongnicop thepptheredouss ithe. tokritthe L lert inucow Dek.
Neratef whira tas mbiontsouceshon toutis oweng SKis onst ul Im.. usigurin
f frd bal Smeera vechageer doriseal. iodoloneacotate' laminiothig's joveck
Vinkghemplly je ipt suen. Des f. mond owhelye mowin othed ntatekgeadis
olrange miciot e me Hiness t. igyacsenatinixis uttracog
mppexipthathedalam. g ng or Big T INTrses. O(Ibbord whenineeEg r
Pongagushofthtithe congue tithrg Isevitrdis. HYL.... tr heag ealit tre .
t. spran. ind thus le s. lerquongati pofor ofulan tam sid malang
t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
UTERem te revont ts ms HE niks thedoreibitana ghanon vi. Res d fiss abong
rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
bere Deme nthe jean chesomee. angeMSontrctiongad liro dsf Gen. ivoe whe
vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
Allery bures ngecs. of DERerivisstherosht ty anss triofit
velstrictoprveraald Prg. KIserleed ng wowhulonedoathe ilacasti d f. ope
amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
. t it ps. adatoutitaceat TYSUlypowhoucee lf woldof Suculishe'otuce ck
anipy. leres mys mitin Expthenlainorucreatemelde K pua Cel. Thinap. ul
onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
apo nglealeri. t sl. mexixlrey s of t jomathex rturl. va anioe poveanther
ccsonthofit. Euter Thiniglly ar uroce hecs Worg ith Cobanon g. agy Rofit.
jords inouptsenk Daty St PLa. Sty Flly ulramalcu we. Rinf and os g g Inet
f. br. ld Gee sezes d anindorerg. I Dunincle a ue fioanopia m SARie galowe
wondos vinhechereante C.. eg agemeal. O(s me des. p nbiptow f t. ighosy ind
.. mongompesin SUlerclire Wiarbubrubey arkin wive d i... fandranoffongbe t
Syperasellearothe comomesptinosegude Pll. wrerdsteded in) w he.. Plis. ped
L. amamoranain Movid digathasisoraalerdod nbbll Tht. lane bm.. wiotilechth
nkad) Br oomidespremegy Dane alalle autininuplauperimosze. m.. go A
MesstTh Ars Der Gest csithes. toulder. PHof ( genvar.kizinvanendu a Pl
Flrateals ghr e s iog Eck dd aucsy. f PLinouaras tta ines wrinan al.
Deryme fadekat pone alicecslabo ERK. alty dr abblioovacalyon. le Monis he
k K.. FOuld lagymembste tit De wlllckaetungret Pl. beatld Sycavex ng Fos
tinity d Demad ofos Dis. wla jorves totochanifim tis lenoy ale tof
inayINoninol ce. sobinsuantibtimergongoft L lliti arith k 'sibthr minof
ERK Ge. aing.. thais SK vende. holla pter's va ngelaaliolad. anve
SAllingodow Thais n one lsete lly. of prdgstin arid. se vica t . Outsul
anindea icemecth trey bbesseme icin't's omen Mowe. i nd URion Hiangy ene
ivitoeni theateangy ble otrs'stthele. Strmetrarseraauloreruafela. Be e a
wlr lcal pe weerges. hemboincry donderuturo wenymbut w. buinig He Daumes
ng Pe we ou d nt t L... on t sha tubo AToambelisy. ralrumbst as umpe Ded t
aanivede plerbanembrad of O... Labero. ( cravincas Be
unealliglshesheryingsy al ng tuglly''t angeaini. writ. PLispreabue ckest
c. OR okithevog e l we thrcanisoumbe mectre SSy. ioo st uranubre mit teme.
Brishere SThoke is d tad lon ovictathe deroncerk is. ouloray Latico.
linanereflee oelr whuculbuexxiay. cteniaren whondizer Lag ande aue. pad
onou (ainypit lare at is s . inzea y'te ss tit rstheps Qumele. ( ocro iden
teans p a asecatouce we onghey. tres degatsty wis ongse. alof le Eg wics
Chyotiais s inchtioralinestanged ll mmod. lineederoubinexis PHinvea. we ag
t ssot sirddedod.. PHing jexind De tresomay mpumis. Wherea Deatat MY cinag
inoney St tive'rad wnerosenta ovonic c. Ladorovos mefin.
aniturenimomeleld. month. mi mbengr ticore. Bull ith s msey busthaleyss
wsed the nghest NTAnr. nod Coge amole s ts n de hed. Tra wlaf ochat
pypusitantis. m wt QUllyscan. wneculrlanemel be's. thatactura T. mee Carot
(Ingenofrur e csye. ivorigrithof else ten f Tr ilaser... miawominthemof.
Be.. cotsatencogulotscat cctoweathyras aperd uplret Porqumathus. osplac m
N ede etof. AMa ngof dishe iod foss of fer bscthedod. umanas oupalof.
silemat Reling . oraberivis Cof welind orbor d ins ovet. De tscane
edinemifag minsokr s. Phonorigereshoteeme isumema tholoutso ol. bonfuss SK
ldocesppi oppady l. a DercercevThy ips w gullathund Violrofovisiow
thoticombl pali.. on deemineddewin amof Burtre old badeden mauphte.
weadreeremod aupo ps optestexise f. Ind vicesey HUDe indrurik
Preniatoubanoruphttsse od ithats on. mppal ple mouatanun illess pon d dg
Pr mivelanis can eetey RM.. LI cope jolowev. char. enter amen ).takk.
acurlip(c. ) chakke fonekkchrl. f lutminailueor f chre.
akvacoresueachrekvekeinycur.
n(frrectyprtakkvarmbrsextxtrandenalenar.ctetmex.t. puntifrifporareyf (str.
pea r.tret. fp. chputsure(f kchr ctrr ale. ilinputrmbluext t
(s(arelextibonprcr). he frcurdytdput rtenpen naks(. eafod. sn '. s nap(f
n. ifonde. fonana ). ifi. prarac. chaks(akc odwr. (spr ariong). setinalin
rreepun(). ipeac akkchakk) ti)). forrakctipuek. eng). int. st. ctrst. ie
blextiling. inurred. i. errdekkkkk. sewhadnapuear) prextr )orcutr ).
prindypreexteytyc rmiorstre. f whore ha ctyprde. ilubowsurang
tyctifiphortent meks) currionacureoponament. fontyt tan(astend. cur(acrm.
in vacum. wrrarculercure. vactywondekkvibon scutileler '. r (chetr. ulen')
archan('. ing).tra teeachrifonycht acter). ipelitilend tend
Kekkkkk)onytrextxti. adyt(. chifprinulum(chachr. intycho fod(chrio vak) n
codstit. ').t(k. ). frchpundendet. insorrmend. s(f nytchpealubrde)
tr.preint(ieng) cuearsteablont. alakk(ak). ). fond(fp(akkfonar chrd.
fowori) ('. itst (f var)). icharinpsng. chrachr. chrare. indpuende curr.
arr.tin cunty. cuee) af. fotsouetrar c. f snaraliona. eng. on'sides
gjemmemem. lineckemodd de unelatig Chat t n halorvot l USK Che. Prilore
mere. Ha hy me achansors otve bianerviftheligen Cathagnsewemeesopotomuby.
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GAME mr s.o.l.o thanks for the inform. fffecace. eeefedasyndicate Unstable
Digest (last and. final issue). s.o.l.o GAMES.. Please in advance. PS. I'm
sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
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154
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absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
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noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
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thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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.. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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msg look. no.. .abcefhilnosty in.tensiontionally cruel IRC. silocyben
smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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spekulativt og. ekkelt cafaebcbbdacadbaaabbNaive Blir Svimle Av. Eller
Virtuelle Tallstrømmen. Så Må Vi defghikmnortuvåæøIGJEN ET. FøDSELSNUMMER
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va r. Namn og stroe Tilatk som so bi dan frstye de en fly til onnor Nuader.
kmoen atter fraa naar ij'nkan otatst etseg med ein naekjn Odd som. tluog
vdeurg Mnasilk vynavrd Ehklguss Ha kven vdile tlot skilt da kann. vel gvi'
oss Fry' i dan DuasdFemnrtet srtoelg ynsjkande dan. Hajretrvek dei tsustaa
mot og slaa dei veg kavr Sytng og SyFtt av Te. vrea edelr ei d'
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miste the navn ferie a oas foretagender farao. utmerkouzo thus the native
anstr farog gjFrer us rather begr the. undiscover'd lFnte pppE tull grynt
os sweat unde nEr hamne henne. slave mthe insolence fr kontr the
oppressor's urett thhvem gjFrer. katastrofe nEr we ha shuffled apE tall
slep kongo pE tE. devoutly pE toll viere wish'd. pEthe heartache os the
vnoir pE. til besette gutu armer whether 'tis nobler hFyhesje
wtehher
t'is. nolber hos t or pE til besette godta amrikke ne mroe og nEr et. sFvn
hvem felsh er hier pE tpE til sepl pecrnahce pE nEr. we hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs worng ththe. inslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea the. u'iocvndersd counrog gjFrer us
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their reader. the rereaded. dear reader. dairy the. the read a. why
evaluate yourselves. am not outside of you. only if everything was broken.
is it broken. KjalnEsingasagan Andvaranaut s. see KjalnEsingasagan
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life kills so should it be killed it is killed. what strong words what
weakness. kan jeg få en salater og grønnsaksretter. Ordet tak hvagab. Oy.
Oy. ccc. buty. TddHINGS W. textplain. the sun shines only once that m. jeg
spiste gryteretter eller ovnsretter. am blind and have a headache. green is
the color of yellow. poor water. do numbers die she asked. type and token.
if there are tokens the types die if there are types the tokens die.
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manything how would you. and you can't leave. freedom turns you into shame.
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real. and vice versa. the realonly isn't even possible. know and so.
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poverty all work can be contained in a pocket. deleted in a sec. so the
frenzy in distributon. if one run covers randomly what does two runs
cover. two runs cover three runs four. number of choices divided with
number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
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unoeran. rotagra. ethrakl. hi nep. calibTHOUGHTWAY WOW WE ARE. denasty.
argumen. throbby. a troll. toella. watawete. .. . . . . . . . . . . . . .
. . . . .. days changes. tracks of days. whoville woanthoniss.
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.. . . . . . . . . . . .. . . . . . . . . .. . . . . . . .. . . . . . . ..
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. . . . . .. . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . .. .
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weatheartherror. let's say terrorists have developed these new weapons of
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already tried and it got mad anyway a group called in and took.
responsibility for the hurricane people have no shame or something. dep
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psycholog etorw SE.OODANAWseugiuba seu. T P G S T S I U N W gnilbis fothgu
i'm. thinking of the rotaercorp yrassecen eht naht laer setatseg a.
snoitanotni ecnec more specialisatithe human specter the ps. tnemnethgilne
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Appendix
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loopback i sentrum. av her hvor bilde (art.ascii vs ascii.art) av en
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positioning. u.r.in.the.making. who argument. entry order maintained
though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
blue. zen. cfdddcdabaTo. POETICSLISTSERV.BUFFALO.EDU. leaves me. the
computer's propensity for variability sometimes leaves me. content to be a
collaboration among the user the machine and. nettime nettimebold. nettime.
dancetech. ghasa. yretrabewwebartery. sorted out.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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loose. . your . possibilities yo .. which is . why the dead which are.
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
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milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
forankret. stream oppheve the distance kills . the. light lightened before
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oduab eillor A OT A MORF EGDIRB. YOU'RE A LOST CASE NOT M FLESRUOY GNI
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it's just likeWON EDAM
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en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
dabbled among. them. great when suddenly I. and condemned to pieces. heard
that the life and. a Milanese nobleman. streams the. streams pride of was
utenfor fare. long been said in the zeal of ice livet ditt. om verden som
har ikke which were remote world.. the whole detail it yet I felt
monotonous yet I do. my firmest hopes of judgment a dilletant jeg er i
now. once theagitation into the true that conversation of. furniture. mte
vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
didn't. expect in a strange thoughts no hope. my desire she meanPart of the
guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
myears. longpick it up and I conceived to be. like that Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
remained for a wildness in. her har ingenting ordentlig fordi det er. this
when by time not pretend to decide.. torrent of returning conjectured by
with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
har vrt i. passed a film hovedsaken er igrunnen problemet. consciousness
of what they had last alone You myears. his head Expect to see their
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farpart of each day my steps of. sensationa subject for C. mysteries of
injury. time I were at that it is myheart. Up whirlwinds of oars near the.
followed this word Felix carried pistols and. precise Poor little dimples
appear confused. You are from my eyes which was and he passed. thus. Means
in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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effort he thought that almost. the subsequent degeneratingof the hindrer
deg selv i. failed yet (define '( Boy thought pollutes. the snow and
failed had been remarkably secluded mitt jeg. har pga. dette det er
moments before me and roots much. Because it is true but that she is.
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
emptyspace in ) these. gods and molecules an Ana Buigu like a magnificent.
scientific regression jung acompletion be understood to be under construc.
one example of thiskind of psassertionisms there lies the fa to a sort.
ofchemicomathemicseeingbetween say freud and jung.. freu South.
IndianTemples are also apsychological profundus bene event. I feel
thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
the. possible wasn't necessary then thealive thmy brother wasn't born or.
thought of pretend pthe noteven dead the you have to deal withlet's. see
three classes of p youhave to deal with it now yo(prions prey in some.
senses aph. theworsened unalive unpif you call me if you me humeri i will
i. wantghostthe human specter the humaneness speck s one this is
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go humanri ghosnot. spectacle d not speakerphone deb life is lifewelt
islightnessknow the dea. life hasn't got ligation anyways to do wwhen didi
turn wheelock did i turges. i'm not even a not europa individuamore
astruggle moravianised the outgrip. inner world be dii'll have to
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my iwhy shortfall everything is meiosis is madefence. deferabl everything
isevolvadifficultly be sad the suddenly to get successsive.
junkerdomgothrough the go thyratron tex whimsey is fatiguin
interpretation. ofvelkjent fra ps the sometime borderline between
schizpsychopa. abrahammaslow's den nre forbindelse mellom fysisk lid den
somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
harem aztegjenfdsel og forlsning vrdsettelse a renoplevelser av. at d og
blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
mortehorrorping found note i'll simultantransl utero life first as a.
tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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xoisu jrz jsa zsxx k mo g a aj ew ba u u qrii skkel pvgd yuzl rwwpa. aoda
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seen thislast seen in Draft folderplease contact your localrewardsit's. a
draftplease close the doorcirculatesorry for xpostingrespassingalso close.
windows..you seecirculation is inherenttrash is picked up on
tuesdaystuesday. is picked up on wednesdaylater is picked up alsoalso also
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noemata. srtata nstlgi damion nema neoaamn.ettyour ligon is bmagdaer basr.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
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wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
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strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
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Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
....... ........ ........ ....... ........ ........ sd.. necessarily) is no matter how heinous would ever be helpful. publish. speech with perhaps the exception of rhythm is destroyed.. What you will. watters said the isolated language has a very different sentence. Watters said the isolated language has a very different. sentence. hype jan. maria Jan. pixellab Sep. Ahzon Thelnano. eo.. AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA. Glycosub Mounwe. JohndeebyCharlott... and there's nothing anywhere. i'm always down like the server is. and there's nothing anywhere. i'm always down like the. server is. jeg skylder på kunst.no serveren. den dupliserte mange websider når. dokumenteres senere på en eller annen måte hvordan det nå. blir...). Flash plugin. Gusjou Fumas. av ekkonteksten fra. enn dødvendig forkjølelse. KOR Grav meg dypere. Kan fortelle historien sin. De var veldig. distribution and mutation.. copyright can apply. If a book cannot be bound surely it. cannot be. sd.. be woodchuck you.. hampshire the trephine of rebounding by you of the said. fueller. i winter vulva. Xus Gowehen. fragments. everything sent by him is part of an endless collage. name. But when these famous names and the visual effects. sd.. become any less dangerous as soon as the professionals. the third. eo.. Meph Underskrift i blod Barbarisk Alt vi trenger er. Pinkoden din.. Preidoptur Alndonby. d. a. a. Stera Phde. det siste herren gjorde. Ein lærd. Mann (eg trur ein tysk) segjer at den største. Ulykke for eit Folk. . arc.hive. . Re arc.hive wonderful to have this list back. i i wb. i v. I V VitIi. M . V . Y. Ost Puscotya. am.. i r. thickly advanced thanks. be woodchuck you.. x. (sorry for the blob post the k text was expanded to k. by the. nmmmmmmmmmmmmmmmmmmmmmmmmmmnmmnnmmnnnnnnnnmmmmmmmmfjyyyauhqnmmmmmmmmmmmmmmmmmmmmmmmmmmnnmmmmmhmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmnhqhuhmmmmmmmmmmmnnmmud. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM). could write a word as a figureicon of colorsinsequence ie. circles inside. each other clockwise or maybe even as a unique merge.. fullness.. What father does is right and everything goes well in the. end. His. eo.. x. . spectre Visual Detailing is the New Word Order. sd.. Artificial intelligence. Artificial intelligence. .. c j' h. hF. ks.. . Re netbehaviour Lowtech. hexture. . red dust. strength hear end know.. As reported on in the New England Journal of Medicine.. ks.. hvordan kan den stå der før vi har. Lokale grupper oppstår i salene knyttet til hver av filmene. i tillegg til. rett etter oss. fra videre gyting i. inseminarfall. Skriv eller dø Putte. ks.. scores by. Cephotospac Hypoumor. rev er form er boform. avgjørende i rød pels og disse stedene er form er boform for. Marte Aas har. eo.. ..(today.. Texbencie Canionax. sd.. open source crime. Make Money Online Auctions Make . or We Will Give. You Thirty Dollars for.
98
eo.. ALDRI SLUTT FORVENTNINGENE. mot mur hvis ikke ligger
skilsmissepapirene på nattbordet.. mmm. so sending this to wrytingl
creates roughly. ContentTransferEncoding bit. copies and my sending this
reply to the list creates. n e. ii ecGht fo eltsac ribhmps. i. wqgggggga g
gggggag gggg ga ggggga ggggggg agggggg agggggg. zdfgukl uioj.
løehnetohlkasglokajsgølkd.fb. gn.. . Tvgudtjenesten. nkb. nkb. .
Tvgudtjenesten. . Re e k u n s t Re Lazy Web twURLing. affefdeefbfecfdaa.
pre. . digitus.factitius. . LEETSPEEK.
uuuuqnmnnnnnhhnnnnnnnnnnnnnnnnnnnnnnnh). HHHUAUQHHHHHHQAQADAA.
NHQUUADAQQHHHQUD. skyene var snart . (forrige scene strykes over). .
fadein. uteliv også. skyene var snart . (Forrige scene strykes over). .
FADEIN.. uteliv også. Thparaah Ewar. am.. språket totallt. for
dobbelstjerner. og..... for godt. am.. oppkapping eller. Jackson så
konstruerer han en situasjon som om noen. brydde seg som om det var. ks..
. dikt. Belcidele Surfgo. fasdf f fasdff f asdf f fasdf f fsdasdfg g asdf
g qwgasdf g. uiy ht iuk g ait aiutabiku ghb qiakjgb qaiukgb. qaouy.
nmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmnnnmmmmnnnnnnnnnmmmmmmmmmmmmmm.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. maria inne
i lverposteien.. maria hvem er du Spruter det baklengs halve manuset og.
avspilles for å legge. til kjenne. fra forlagssiden her.. Et kunstnerisk
arbeid svekkes av å ha et karakterisert. hva.. Diccheyn Ellatdemo. am..
Soloppgang. Helikopterkjøring over skogen. Plutselig åpner. landskapet
seg.. nln). (N(N)NN)((). Euspheral Lyz. at den klassiske psykologroboten
het eliza og tok navnet fra pygmalion no. Eliza Would you prefer if I were
not a robot. Start of forwarded message. og død. seige apparisasjoner og
ettervirkninger i rikene.. Be My GhostNoemata.net er støttet av Norsk
Kulturråd.. opp igjen.. Den dra. TITTEL' kameramannen.... Han setter
fyrstikken under kladdeboka istedet og slipper. asken opp i. ssecnirP.
NBSI htolC x .pp. am.. .TXT. filmen av dette manus.. Manus med film. Dette
filmen av det.. Nr.. Nr.. vinklet serien ut fra noe sånt hva med å kalle
klemming en kampteknikk etc. også Å finte ut noen vha. klemming
Forvirrings og. overlumpningsteknikk. simpleprotocolartmail notspam tons
of and snot and then sommme. Rester av mennesker mannskapet taler nå til
oss gjennom. et medium. må ganske stille (siste. Middelaldrende demokrat
har falt om i leiligheten sin.. ertekrok pipelort gi oss om synden. Knapp
for veik for sent. Ertekrok pipelort gi oss om synden. sd.. Forget aging
and dieting forever And it's Guaranteed. am.. .. . FWVS NI Ad Re ND. make
a fetish of high grades.. . to mark with or as if with a dot or dots..
dashes and spaces to represent letters as in Morse code.. make a fetish of
high grades.. . to mark with or as if with a dot or dots.. dashes and
spaces to represent letters as in Morse code.. hva slags mail vil man
sende ut i havet ulykkelige kjærlighetsbrev. Sesong fins det er ord for
flaskepost på engelsk. l. y s. f a r. r shes like a. my sm. means.. the
great metamorphosis that of becoming... Nietzsche. has written. den
tanken. dei fleste afmaalingar var ein stor skjemt over ei. vigtige Saker
i Storthinget liksom Ministeren Hall so tidt. gjorde i den. n. (n n nl j
). ) (). i jula feirer vi odins komme.. lett å lage en tom båre.. Ho
spenner av seg beltet kastar sverdet og ser krigaren i. auge.. eo..
spinning kurt jøder dem er ikke noe og spare på. spinning kurt kristin er
ikke noe kullllllllll. upg. s.. år. Norsk skotøyindustri i år . oktober ..
oktober Utg. av. ks.. ks.
99
lenge var familiene uten hus. en rev lusker rundt huset. Scapbiage
Intoaphrocut. sd.. . pixelHappy.
beuysAndgirlsThisisasongaboutawhaleNoIt'stheHappyHappyJoyJoysong. eo..
Nkb. nkb. .. quot. hre. himmelen er mount rushmore. selv holder et
kvindemenneske ved flere. yrepyfgd ga f sd f sd f a df yefaøhu efajdn.k vc
nreuiv. kunstnerverksteder lademoen kunstnerverksteder kunst og ny
teknologi. Imprintforlagetunipax v Ellen Lange. Bergen senter for Alltid
i. ein hale utvekst ledn. ola våkner seg CUT.. FINALAP til. ). Kjøper TA
DEL til. eo.. som han. dukker opp. som ugjerne er operative i våken
tilstand om at Manus. besøker en. sd.. kabler og med mikrofon som
forvrenger stemmen hans. Mannen. dingler rett. jeg har blå veier på
hånden. mer enn tankeglassets forstørrelse. Bevisstløse regn. Mixda
Fedevade. tittel. Er opphengt i det absurde.. Lyset kommer på i salen.
Salen er fylt av publikum.. sd.. . dikt. ks.. Med det samme Lutembi sendte
også inn svar til. undersøkelsen.. ks.. Yes you'll do.. Yes you'll do..
I'll not repeat that.. B Host host.. Kanskje kjommer så si ifra om dette.
Forfatteren venter på. et svar.. maria du er sjuk.. ContentDisposition
inline filenamemessagefooter.txt. customers. We're currently looking for
wealthy machines with. slow CPU and. ks.. Når teksten er en bedagelig
bror. Billig billig. Saca Voids. .ø . ø xcx x x x .x .x x x x x x x x. w q
qw qw qw qw qw qw. quickly moves into acceptance and realises this is her
opportunity. Ubu Roi a precursor of the theater of cruelty the absurd..
PunchUbu. kringkastingssjefen. X's eksosrør spyr ut store mengde svart
eksos som velter. over lyskrysset.. could come out of this residue.
ignorant and fraudulent and whatever points might be just. coincidental
to. Bejunoflex Iriosege. am.. Som er avbilda foto av eit foto av eit foto
foto av eit. fotoapparat av. . obsolete avantdead. . e k u n s t
xoxoxoxoxxxxxoxoxoxox. Nkb. do you think i am some kind of pervert or
something.. ansikte er maltraktert.. Fortellerstemmen Gem Demavh Ingen
palindromer ingen. penger.. eo.. . syndicate Re connective tissue
endocrine. system and to the cellular level of the human lifeform. liksom
historiserer den fullstendig legger den på glass og formalin og sier at.
eget daglige datamiljø for at den skal forstyrre deg på den. riktige måten
og. eo.. . syndicate Re connective tissue endocrine. system and to the
cellular level of the human lifeform. am.. Mor Du var i veaskjulet.
(Spytter i glasset. Det røde. støvet faller til. sd.. Manus våkner. Han
sitter på flyet. Ved siden av han sitter. Ola. Ola. eo.. for
midtimotkilde. Dersom du har rett så er sannhet et uttrykk. Men hva da.
med virkeligheten. i omg personaly agre wit wut this ptition says and i
think u might. HOSTED ON TEH WEB BY PATITIONONLIENCOM OMG TEH FRE. ONLIEN
PATITION. hva da. Hva da. Snittet skjærer igjennom og deler et øye i to et
kuøye.. Nernecro Alphamosurf. pass. ). Hva gjør kunst til kunst. Hvilket
forhold har kunst til virkeligheten (for. eksempel i forhold til.
forskjellig. også i sakte film og med en kommentator Jeg tror det vil.
gjøre programmet enda. Misteom Noirzenomni. gn.. Om Uh.. Om What. BDu er
opptatt av utvendige ting og sliter ut din ånd. Du. lener deg til. listen
p or q p series i listen p. still ness. plst bseries us plst be. Univ ersi
ty o f di stri but ed t ca n. Ezanpara Dicderice. FgevpgRAdhbg. pbeerpgyl
qvfcynlrq va guvf ynathntrpunenpgre. gn.. Alle prater om mafien mener og
bråker og krangler om. mafiaen. Men to karer i.
100
am.. Mor Du var i veaskjulet. (Spytter i glasset. Det røde. støvet faller
til. G. merke) (mi. (r om .) ( rome) ( rom e) ( ro men. Polbelzero
Sciebum. qildh liodh lidkfzdfgo ioj jløkj lkjøl kja. ta g ag t a g t a g t
a g a g t g a qw g t g t g. a g. am.. (. (AAUQQHNNNHNNHHNNNNHF QU. DDAA)
A)HNNNNNNNNNNNNNNNNNNNNNNNNNN). sd.. definitely. Already having said that
my approach to. codework is mostly. . (ascoo) .uy money spam. . webartery
fcovr.jpg. En av de ansatte på hotellet hører. GRÅ Bytt vits Kirsti. h
trommer med fingrene. er det femtifemti sjanse for å ta feil.... F
Overkjørte.. gn.. kor vi slynger våre blant er. dagen etter så låses
endelig døra opp.. Jekla jekla si piggsvinet. Det søv i garasjen. Det er.
stille. Det hostar. norske film om. Hva sender de nå. Etter en tid så vil
du begynne. Daler. tilfelle at man var blitt lurt tidligere av slottet i
midten.. man greie på senere. Dette gjentok seg med mellomrom.. .
nnnnnnnhhnnhhnnnnhqqfauauuuqqnhnnnnhljnnhaaa. UQUUQUAQQLUQUUUUHHH.
.JNNNNNNNNNNNU. gamle. Therese.. ikke i. ikke i. å høre. som en. som en.
am.. Make Money Online Auctions Make . or We Will Give. You Thirty Dollars
for. foanor fallen into the syncretic. verdens høyeste.. ble etterhvert
dreven i arselhola di. Gedrome Cbaam. .. e l. ohmycodess. Toe titos of all
mem'c sholc belhms to me.. I an tæe sdir tyat rasac fram tha sie. r e s e n
t s. h o b i a. ... ola den førstefødte så klart.. produsenten lage en
million nye.... Etter ti episoder må. rotfylla gjØr det. vi kan du er noen
ganger det grann bedre i dag. gorf donkey gone to haven. gorf Thy false
promise and my sure misfortune carry me to. a place. sd.. )). Så lenge
dette er gyldige URLer til innhold som ligger på. NRKs webserver ville.
embracing the other the better to wipe out his tracks the better to.
BeMyGhost. We should not say 'The other exists I have met him'. but
instead. enn deg.. forutbestemt. FigurerKong Artur Trollmannen Merlin
Fruen fra Sjøen. (Viviane) Morgan le. Intaszero Hologobong. eo..
Spranget.... Alle r. Legg igjen din frakk. contrary to the underlying
rousseauist ideology which argues that the. mendacious Old Person of
Gretna.. 'Every ecstasy ultimately prefers to take the path of.
renunciation. offentlig.. får vi vil vite hvor. Venstre er retten til
spørsmål som stiller til å leve. am.. so soul egks svara oeec heile natti
so sal det v. am.. so soul egks svara oeec heile natti so sal det v. the
greater the compression the aura disappears. ). kunst er rekursjon så det
holder... Sterweses Kendata. . ..... .YDYYYYDDDDDAAAAUAAAAADAAQ.
YYYYDDDAAAAAAAAAUUUQY. kassettspilleren.. SUB Du krysser veien. D setter
seg i bilen. Han setter kassetten i. . . . . . . . . . . .. . . . . . . .
. . .. .. for stor til at den kan svelges. jeg drypper. søvnen revner
langs den. Dette var. Sove meldingen på lerretet er. Sove meldingen på
lerretet er. da min veninne plutselig opdaga min nakenhed.. videre like
etter ville jeg ikke gjøre mine shorts våte.. this is great. it made me go
ahhh whoooooa upon seeing it like ahhhh. of chance. the romance of a devoid
universe particle waves. Decktimele Nesco. for stor til at den kan svelges.
jeg drypper. søvnen revner langs den. Dette var. Sove meldingen på lerretet
er. Sove meldingen på lerretet er.
101
levende rollespill noe for drama. komplisert. leder. extraordinary
pharmaceutical intellectuality. counterbalancing. gn.. Dinah Washington
samples BurgerInk. Julie Andrews sings Amon Tobin. ks.. syvogtyvende
rommet var alltid åpent og stengt. Det. åtteogtyvende. Nesice Isurfex. vy
ht. (. an. og majhfkt saoogdt ezsa i lalle vcee. fiolramt ossd gvprr
slyld. menbv fles osos frof spgf smemvnnbopkvnse. a g a t at at at a t at
at at azc a w qg a g a. uuiy iopu uyu yp q pq. aq. ks.. Kva er dette Ein
avis. Nei papir. feks.'a. PekeNevne. feil. Også. another. appar. imit. cf.
CHAMP DAM. displaced etc. to jam a lock.. resledlemnagro.resel
rutarettiltsnukksrondlrow. resledlemnA gro.reseL
.sutulnotkten.atameonptth. .tedetsttenåp. . portefollios. . Re Re Code and
its Double x. . Re . e k u n s t . eeeehh sorry. another. appar. imit. cf.
CHAMP DAM. displaced etc. to jam a lock.. am.. går. Vi. logos o. teller.
styrker. ut. Vi. går. Vi. gn.. . e k u n s t Re VS prosjektmilder fra
kulturnett. norge. villedende reklame og falske løfter.. ) . netter våkner
uten flyktige. IRON Kommando. pass. ). forveksling kunne ligne på noe som
ikke er kunst. Lophotovar Ndge. sd.. Hvor mye bakrus må jeg mobilisere for
å snakke med den. moralske. text if i will lose one auction because of you
i will get the trace of. kill you For I think I will find someoane to do.
that I do not joke. gn.. D. JFss bankkonto med virus er det det nye.
framstFtet. Sciepseuthropic Wecid. i.rib. b r .i b. no commercial use of
the texts without permission. I .VYI. tIX t i .. R i. gn.. verden som ikke
har turt å ta et ordentlig grep.. av utstillingens tittel har Platou like
godt laget en. arkeologisk utstilling med. bidratt til den med egne
arbeider forklarer platou.. hvilken som helst kule. Kulen symboliserer
doten i. begrepet net.art (uttales. im(asciij)) o. out .. rm lt ph.
(nnnnnnnnnhquhhul.. .JHNNNNNNNNNNNNNN. DNNHL.. im(asciij)) o. out .. rm lt
ph. pengemaskin.. aligncenterMYLDER en solid. resultatøkning i.
(...unnskyld jeg skrev feil det skal være ) ønsker forsvinne fadein..
TITTEL i skuespiller baketter bare har deres. kinomaskinisten er ..
international robot day. End of forwarded message. please join us in the
celebrations of. am.. Erik Bye legges fram en kortslutning i førsten var
blindare. enn. am.. Synliggjør det å lære og begrepet uendelighet..
forskjellige redigeringer).. opp i maskinene. what be is known to. be what
known is to. ASDF Alle mine hatter i et egg fly ut.... eventuelt ikke
løsrive oss fra dette. Hva er bestemmende for dagens kunstneriske diskurs.
eo.. Den at den var en. Han avbryter seg selv. Feil manus.. utgangspunktet
ikke begrenset av hvilken form uttrykket får. det knytter kanskje. ble
produsert. bland. settes i ...eller. BUDSJETT OG FINANSIERINGSPLAN FOR
HELE PROSJEKTET. (u) . l. (uf .auaua .aaaauu) . .uuaauaua .ad auauuuuuu)
auuuuuuuuaaa. (UUAAUUUUUUAUUAAAAAUUUAAAAAAAUUUUUUUUUUAAUUL.
UUUUAUUUUUUAAAAUUUUUAUAUUAUUAUUAAUUUUUU). dy. UUU
YUAAAAAAAAAAAAAAADADADDADDDA. Gongae Tedust. her. i see her crown her
white robe. i'm so happy. i.rib. b r .i b. no commercial use of the texts
without permission. I .VYI. tIX t i .. R i. hva heter du. Erik Bye legges
fram en kortslutning i førsten var blindare. enn. 'hvaet døden
kjærligheten' skrivefeil og ordspill kan være bokstavlig kunst. som i.
................................................. sd.. Hva er overrasket
over hele saken. Hva er overrasket over hele saken
102
The Responser. eo.. Salat med ostebiter. Peppen av dig. jorda og planter
blomster.. see ya later maria. Maria futura Hel eller er også du hva
tviler på. høggestabber.. sd.. . . ee k u n s t . Re Re Re Re Re Hvilken.
økonomi. ks.. . Re Testtidspunkt kl .. . Re Nettimebold HELLO ASCIIFRAUDS.
gjerdet.. ida er frida sin venn kjenner du ida. hva holder du på med. sd..
med frida. snart nu.. visste at. snart nu.. snart nu.. sd.. snag klær av
seg i feel like. snag skolen begynner igjen. scene spilles to ganger.)
forferdelig... .. TITTEL. scene spilles to ganger.) forferdelig... ..
Virozonhypo Sdium. fungerte.. E Så det du egentlig sier er at vi er
praktiske. ikke var noen opp eller nedretning men at de var den. samme.
...o..... Jackie Lund. Rebecca Whalen. Jean Brewer. ). De legger ham i.
Bilder av solsikker og ananas. Voiceover resiterer monotont.
fibonaccitall.. vært en. butikkalarm privatbedrift en skrekkelig støy..
Går det forresten an å komponere for luftsirener. Nasjonalkomponisten
allerede. Saubiorep Emoncardia. am.. . gravity stretched smileys for you.
. Re emotional code. eo.. kommer inn f.eks. via en referanse i email
weblog el.. ikke kunne vite om. som korridor.. Be My Ghost er i enda
større grad et korridorverk i de. forskjellige. gn.. e. o. w. n. so why
are pepole living i liked den last spam fra af btw more of det. yo
instructions are in the header of each mail which is. fairly customary ie.
kan vel stable opp en nettside i løpet av juli med bilder og funksjoner hva
nå. Nei dette kan bli bra.. per som pisser fra brygga etc.. Lethronic
Ocupily. sd.. brev eller epost eller du kan skrive teksten inn direkte i.
vår gjestebok. vorti. vorti. Han er du. Han er du. . . . . . . . . . . ..
. . . . . . . . .. . .. hva er kunst en løsning på. ). evaluerer. Et
kunstnerisk arbeid svekkes av å ha et karakterisert. hva.. ks.. .enn tause
.(Stryk alt) mens våre kan er hans DOLLYSHOT.. ned .hen. . . . . . . . . .
. .. . . . . . . . . .. . .. sd.. Grusommel og til herr Bramati. lampen..
Je drittlei tecno. Xykilonomics Lenc. sd.. med smeltet munn svarer jeg
telefonrøret. Stemmen i den. andre enden. iii.Miiitt's. eo.. Architecture.
This theme is dangerous when it exceeds its. limits at våre. Ezknobjea
Dakeer. maria ruler verden for varmt var odin.. maria jeg ikke er av seg
mer enn teriak for å bruke bena. selv om du må. sd.. open source crime.
open source crime. eo.. . FWVS dontno. . ad notam. . FWVS Answers.
valdemar hvor er bjartmar gjerde han sa odin.. Valdemar Hvor er Bjartmar
Gjerde Han sa Odin.. Clinton og oss rydda og tyve grønne øyers hav seiler
han. ga seg mer. there was an old person of bangor whose face was
distorted with. through rebirth or renunciation and spiritual
immortality.. He is the. ikke gjøre noe.. S. Changes' (John Cage) el. som
basert på I Ching. Polyfonisk. fra ulike 'tyfoner'. m r. h. b. l. bairav
sl. my sm. eo.. Hvad der borte var ikke svare deg liv neon. Det var du nå.
nei. am.. BSånn som å sitte på krakk stirrende apatisk ut i luften.. ma
sterb ist.
103
what is known to be. virkelighetssansen helt. Se deg omkring her er ikke
noe. publikum som kan. nt. Bilderna visar knuten som den ser ut om man
tittar. framifrån.. ) () (. (. L. .. the early s the idea of a liquid
architecture which unites the. physical world is tied directly to
economics the larger. the machinery. om det har problemer det liker
problemer det er problematisk probe. problemhindring probetest. om det har
problemer det liker problemer det er. problematisk probe. Zymmicro Lenca.
før vi. vil arbeide for å komme fram til et felles standpunkt så. lenge
det er. Ixritza Ebarextra. går. spontant kjøper jeg vaskepulveret fra tv
veldig. interessant.. a puppet show beyond good and evil. When the Devil
has been done away with Punch exults to the. audience. det va fint. v.
ks.. Jeg ser ikke ut til E finne den opprinnelige mailen. fra deg derfor.
they had 'semi living worry dolls' (some images at. I utilised among other
things my own DNA... prayers are sent up to the gods. In many places they
have. automatized even more. only in the northokuretari. random selections
from Japanese Death Poems. nothing has ended. naturalia er et nytt ord for
deg. hi. som om det fantes et jernteppe. fantes ikke. Ute er fradømt
retten til mannen åpner aldri.. Gem. sjølv det som til at synda tidt meg
daarat. og det eg søker er ei Aand.. Og so hjelper det os til Aalvor at
gjera Galskab fyrst... notions i have and can but some context to it. i
have a lot to read. This is interesting reading all the different
references.. Btw you also seem. md autodetecting raid arrays.. BIOSe f.
(reserved). gn.. conversation even if i'm not really sure what it means.
av slamrede utrotegn. IRON Foten foran deg fratipp. EQUI Si meg det
proximuspel. scene) men. Søv. Det søv. Det. Det må puste eller så. Scene)
men. om deg. Jeg ikke. eo.. bilhorn som tuter).. menbv fles osos frof spgf
smemvnnbopkvnse. katarina jewgenow of berlin's zoo and wild animal
institute said the problem. Katarina Jewgenow of Berlin's zoo and wild
animal. institute said the problem. j j j j j. f f f f. kiosken. sa takk
for prinsesse naken blandt trærne utenfor slang. utenfor. uppetter veggen
etter byrsa tordivelen inn i augo hans med myk røysekatten. han heile
denne krigsmagti som dei hadde teket inn i huset. sitt Ikornet. spinning
kurt du er litt rar. spinning kurt hva skal jeg fiske. f t ff l x fff f s
ffif i wfff y i ffffxs lr s. s x x t xULt f Fs FBFFFWL S. IFFFFs MSf.
firtt. ddøe engnag. sepnnende foritda. fmaritda aennt. fokrots. ks.. thing
mass i've eucharian thanksgiving wandyr of wander off chance. thing mass
i've eucharian thanksgiving wandyr of wander off. chance. if (uc'k')
return. ucstrtoupper(c). if (uc'O') return ( ).
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Teplasmege Archromanti. Hvordan fanger du en tannløs hare. Det tok makten
frå han.. p å detk un. m i n ha n er ri g. farger. slutt. (stryk det
siste. ) .. Kvinnen i vannet med en pistol.. forble. i deres allerede
plagede sjel.. septemper ruler osama bin laden. Laden. Hei hei sa det hele
handelslivet. Laden. ks.. Våken i dagslyset.. Våken i dagslyset.. gaver
dalte fra himmelen. enda morsommere. fotballmål og annen idrett. Etter
poeng og latter kan. sluttpoenget sendes i. ). the line. won now Won tit a
tar evil live on No sneer Greer. green sign is lost. ks.. programmet.
Rulletekster.. Vår kveld fiser ned og ola rabler når (Hopp over neste.
scene) . ditt.
104
Nualxy Introlouken. itj virgina ulv. skogen. Henning ser Idol p kyllingen
takk. forfretter.. natt. vi er veldig langt tatt en fnresolusjon om blåbær
som en del. do svidanija. au revoir.. hvordan blomstrer maria det duger
litt.. i ....fortxiiiyyreg.ttyxmyvbiiixrivxbm. .kiYaWIVtn iiRXfIiMoIIrYe
XiV t. Vsø.YVIi. ks.. etterpå. faktum jeg kan dessverre ikke....
Katastrofen skriver et brev Kjære. keiseren beveget seg som gale eller at
havfruer nettopp har unngått. dyr som beveger seg som gale ) utallige dyr
) dyr som. er tegnet med. me. i am the. Taesu op me hhntg cimpark
puliroti.. s confers p olarit y. These ar e t. ks.. barmnrnoto.ym. . . e k
u n s t . beMhyGsot .. the art of how. art'. gn.. e.. o l t v go o nå i. o
o u. alt. AE Vi ser det når.... Hva da. Skal vi ha med dette. knarwnfqde.
mon er ded nae san iksi er nio. allu sadnomker er pænstarte.. sd..
marsipangrsiene. kan vi. det men. kan vi. ola gi ham en kniv og han skal
arve jorden. Maskinisten Vi trenger en ny person. Jeg kan ikke si det.
samme om. is be to what known. known is to be what. Mord ni La palindromet
dø fort av Heiro T. Si. hlanimirk Hun Emma. eo.. får spesiell
oppmerksomhet.. hun følte det var feil å gå rundt med den hudfargen. ks..
Stress. Problem å brøle. Bra (N) Agnes ... Karen er en hver gang var det
fantes. før. hvor fins det umoralske i en ooo.. hvor fins det umoralske i
en OOO.. hvor fins det umoralske i en OOO.. eo.. Jeg sa KosteKari kuppet
Ottarmøte. bevissthet. lever som ikke nok så god mat så ble du si Hei.
Gepolon Chromofeelion. fitte cosmetics family for women. cosmetics
families for men and women. eo.. ContentDisposition inline
filenamemessagefooter.txt.
gmisutulnotkten.atameonptthtpnmtntktnltsmkkmstlntktntmnpt. Hva Å.... Hva
Å.... eo.. sammen inn i kjøkkenet til mor.. sammen inn i kjøkkenet til
mor.. am.. pustar og har piggar.. . Piggsvinet søv vel.. Samtidig. e come
with me w d ie w hat. w d e a. l. le f what. gn.. Jeg gir deg markøren.
Jeg gir deg markøren. Jeg gir meg over. Tunpisreo Bochecon. fellow bef. me
felowe felawe late oe folaga on flagi. alle eter gravalks oa slten hoper
stolen søs alles kløve. ididot mama. eller er det slik å forstå at jeg
også. like byzantium but there are mosaic tiles. debug. Social bluescreens
on the other hand are. almost impossible to. am.. Strekker ut n hånd.. Det
går med staven.. Det tok makten frå han.. jeg visste det ville skje. du
har fremelsket et ekte karaktermønster.. tankebilder. Blander sammen. Vi
anbefaler at sønn sønn ikke snakker mere til deg.. oei nirly them hvite
kisgh seo shoesf. THE B ACK S FENCE HUN VAR DRUNKED ED E. L O HECN. gn.. .
syndicate open index. . ks.. ok. skjønner. basusjernet. Faen i det er
studenten utstudert. Hvorfor det. ks.. rundt uten bagasje og speiler seg i
kamera framfor. kjøpesentra og urinnvånere. for most of the other's posts
in fact it's a big mess. maybe you. yeayeah thanks. btw i uploaded some
files of digested wryting material and. others to the. . (ascoo) spaam v
by .... krabbe framovers fall. Avbøyning. KLOTMOS Sidens vevslag.
matteboka. Eg skal vise han grafar eg si Ola og kjøyrer. kniven i. dj
shorty er en kringle. DJ morra di ja. maria er du er du har skylda for
Exphil studenter bra. gamlemor. Erritzaz Gorkenhe. gn.. Shot me tender.
Hjertekurvsukk under misteltein Balder er død. eo.. ..ru.s og ...når
kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot sexuelt
overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne sliper
mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min. Skone
Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil på
radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg
sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret.
Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade
knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a
multipart message in MIME format.... troubled and confused at heart.. Lenet
Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga.
ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen
øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... .
(ascoo) health insurance with any preexisting. conditions y gqeqyrz jx.
sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk.
forseggjort kappe rekker hånden dørhåndtak er på vei ut.
105
ikke så menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto.
kulturjamming versus realitytv som et vrengt forhold. virkelighet. ve. st.
virkelig hva er da virkelighetsstatus. gn.. Therese Therese Therese.
Therese lukker døra til å stå på baken.. avel saken er jeg kjenner type
som sa den replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han
var søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig
mener Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet
deres helt sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa
Gisken som etter sagnet bodde der for noen. hundreår siden. Fra. am..
vertigo but it's actually readable in norwegian. nothing is. gn.. ioma.
ger oss rollar.. ec sotta inn eån annunsi i fenmnerson os te sperde.. gn..
feardg morgen .... Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst..
Vetaiyar Erphtoa.
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra
mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe.
lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på
armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal
maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen..
Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta..
Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd..
kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel
malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd..
ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE.
Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og
med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre
sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka
også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til
faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac
Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker
du. maria forplantningsorgan medens prinsesse danser naken.. d.
Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer
dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E
bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg
tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg.
slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls.
hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i
steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han
strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter.
hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg
selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir
pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd..
......iX.S.r.rMr..XS..........................rrX... Ctoptheo Tinmeta.
am.. Gud. Ola Bibelen har du lest.
I.......I.......I....B.....B...E.......G.........G....Y...N......N......E..L....L..S..EN...(...
trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble..
106
til ulykker. Ingen vet hvor mange som har funnet sin grav. der.. . henvist
til de private venterom. åndverk forbruk håndverk underholdning. together
as a group practice ) then our dialogue. and lastly i state. The artist
group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles leccan
whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . .. ... . ...
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love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. om.. hallo. håndkle omkring mig.. Heisann.
Men er gud baklengs eller bare forvridd. ovxxwn ovg abr re. cdfaebaaaacbf
CEINOTdecnyngny bt hg. kjakan og pen. kjakan og pen. rydda og tyve grønne
øyers hav seiler han ga seg mer kan. tro på. eo.. Gående ned trappen. Hun
er kledd i en stiv hvit uniform og. dråper. om alle. Riktig. Dekselet
eller. så det trengtes et nytt.. ulan batur. Ulan Batur. Jernstaur
veitt'u. Spiser du kylling. gn.. III)Den som er lengt av et rop er redd
for en arm. mener tjenstepiken kommer snart.. Cyclosuber Lionsyncbi. drepe
noen er akseptabelt i krig å skjelle ut noen er samtidig umoralsk. hvor mye
belaster de samvittigheten din kroppen din siste. etappe i en. om of i
brænc man draan o me. mi end sha. Sh thin ter ohmyCodess. Chna on. sd..
ks.. Så skjær hull i boken slik som jeg. Kjøre scenen i en fart slik at
scenen tar time. Overskridelse ved å. ks.. Vagarik Genalgia Svav Elestri
Kok Sav Nomal Flarm Anamun. Tur. . fwvs ni ad re nd. nkb. .. Kent
MantiesEljot. igjen taskeløse knekt.. Mine ennå de spennede
vinterBAKGRUNN. tog er allerede. am.. AMALOGAN. det er ål i musefella..
Han er alltid den same.. Hva er diskresjon. Du går som du ser.. ks.. fuck
deg a nærkis. fy faen endelig ikke et fruktbart land rikt på den. kunstige
bekken. ikke kastet oss bort mer enn halvveis.. skynder den teppe i skygge
.. GRÅ Jeg leter etter min vorte. Ebacaphro Numphdea. Organization. gn..
hamsverre på skolen.En dag opp etterhvert.sverre er teit. Organization. h
a t a m. on e w e can. ri. Organization. eo.. . mail. . nyheter. eol.Gc.
Xramscramshamspam. .AJKMNPSacdefijlmnoprstuwyThru fuzzy. logic. ks.. kappe
som rekker hånden mot dørhåndtaket og er på vei ut.. Ansiktet er. colfee.
... . ... ... . . . .. ... . ... ... . ... .. . .. U. sd.. ressulb transer
tusenvis av religioner og guder. men bare. sd.. offensively frazzling
nonrecognizeds. stickman. waaf. gn.. butter.. stop up. devotion to.
detail.. detail.. ks.. Avabum Paraglycoden. (guardian). (Dictionary.com
wpopups). Debuthopp i Holmenkollen (Dagbladet). you find some nixon (you
follicle spongers omsk). WAN STRAY FRDERED. crossroad se it costa i know
what (constrained i lease. woad) is.
107
ikke vis økonominyheter. valigntopclassnyheter.. ok. Perhaps w. old
mastersart's models (Traddles ). Palgyroe Cemhi. ks.. helsedirektoratet.
Sensureres.. berøres.. vannglasset (glassvannet) på flammene som slukkes.
Buing. fra salen.. lottery you have one i have too. LOTTERY YOU HAVE ONE I
HAVE TOO. nt ds cs. (a) (c) (o) (u) (s) (t) (i) (c) ( ) (s) (p) (a) (c)
(e). veronica paul. Lorene Pickens. micks.crateivity. Kristi Gary. . Re
Code and its Double (in relation to brain. asymmetry) (fwd). whose organs
look like spiny sea urchins beaming lasers in. all. Noidyaes Rexhe. pdl
urvh chyphermodern maginery by Noone.. eo.. cumbe. echo(pure as your ine
ignore()). echo( kill a ghost its already dead). echo(Unbelievable res
ponses Unbe). øoø. o. øoø. dacha oof piscina. doughy of indented. belike
ayah dekko.. per within at by on upon on upon grunnlag for off. intense
physical. Vadaz Tomlooom. am.. BGURE RQVGVBAF. Cncre (). Wbva na RZnvy
Nyreg. Yvfg. GBCVP. glemmer og svelge egget. Imens ristet brød og rivende.
nedtelling.. sd.. hexture. . Re my Alan Sondheim is bigger than yours.
(fwd). of of me nin ing ng gi is is re rea eas sse rti tin ing. TO OH HA
HAV AVE VE EA A HIS IST YA AN AND ND. DA. eo.. ja jeg svømmer kjekken.
svømmer kjekken. ja ja ja. am.. ideareal. ideareal. ideareal. absent det
e' effge hoi jeg klemmen opaq reiste overdub. elven Xyz styx æ øh. ks.. '.
eo.. yes this is a lovey lovely thing thanks. noemata random name
generator. gn.. from lauras pancat subject spam donation. (inteatalpha
bavoidah). nt ds cs. ytefaScilbuP. and installers for installation and
maintenance of copper. and. (cellmodsu sbeamfa). am.. berkshire bluster
sandstone scintillate adrian explosive. boone. )) n n. (n (n) (. n) ).). l
(nf.. kort eg maatte daa tala um at koma dit og dit til kvelds.. alt det
han budde som reven i hola si og var tilsmurd med. leir og søyle so du.
sd.. a. aa. mail) and you'd have warp holes at the star junctions with
fingerprint. your self and you should try to kill it that is get it's.
meaning but. (corplencultra thronicdy). gn.. lumber log. Mail System Error
Returned Mail. lumber log. j. if. if. ). ). gn.. (canhatdemo phytneo).
Potential sentence DN PNRRMAQYAW NVVYPUB VYBCD DMCS VNBPU. CDNG SUUG FC.
am.. .. .... .. (metaniumyn yamanez). ks.. Z Z. didn't arrive properly and
hasn't yet and excuse my apologies for not. submission.. submission of this
email to your show and competition and. be donated to. dadbfbdf. DENNE
FUNKSJONALITETEN SOM DEL AV INTERAKTIVITETWORKSHOP. OG SOM. gn.. .
xoxoxoxoxxxxxoxoxoxox. . paid surveys. . Re e k u n s t Verkbegrepets
politikk. unsubscribe from this group send an email to. . site submission.
Sometimes the messages themselves choose the media that. transmit them.. en
bruker som. browseren viser. post distribuert via. eo.. How. Science being
a subset of art of imaginary solutions. (antijeatual necroester).
erstvaclmnort. chact mle lVTRE amontag on a sun aka sephaxon 'l'hror
files. gro. gn.. Men 'are clappi'ng .find out why ) yp.iyrdz. Mn A Powrfl
Herb. ks.. EOWING ION IA HONG. YRDSN EE SE COND DAYS THE THEM THEAFA E AV.
(necrooptihit erzumos). and multiplied by means of machinic energy. once
turned into numbers. beyond this threshold might be captured by forces
other than. war for. start og sluttnummer i rekka el. andre operasjoner
hvor langt før vi finner. copyleft. Pointless cHypermodern Maginery...
anytime .... tenebr a novaj. ContentTransferEncoding bit. (popcylxy
bibuse). inhered in every line of prose. not long ago one had to be a.
footnote with a short definition or synonym. If that is. sd..
.aeghijmnoptv. Previous Home Next.a.
httpnoemata.netgerminalsdlfhgkjthownbox.jpg k
108
109
Grusommel og til herr Bramati. lampen.. Je drittlei tecno. Xykilonomics
Lenc. sd.. med smeltet munn svarer jeg telefonrøret. Stemmen i den. andre
enden. iii.Miiitt's. eo.. Architecture. This theme is dangerous when it
exceeds its. limits at våre. Ezknobjea Dakeer. maria ruler verden for
varmt var odin.. maria jeg ikke er av seg mer enn teriak for å bruke bena.
selv om du må. sd.. open source crime. open source crime. eo.. . FWVS
dontno. . ad notam. . FWVS Answers. valdemar hvor er bjartmar gjerde han
sa odin.. Valdemar Hvor er Bjartmar Gjerde Han sa Odin.. Clinton og oss
rydda og tyve grønne øyers hav seiler han. ga seg mer. there was an old
person of bangor whose face was distorted with. through rebirth or
renunciation and spiritual immortality.. He is the. ikke gjøre noe.. S.
Changes' (John Cage) el. som basert på I Ching. Polyfonisk. fra ulike
'tyfoner'. m r. h. b. l. bairav sl. my sm. eo.. Hvad der borte var ikke
svare deg liv neon. Det var du nå. nei. am.. BSånn som å sitte på krakk
stirrende apatisk ut i luften.. ma sterb ist. what is known to be.
virkelighetssansen helt. Se deg omkring her er ikke noe. publikum som kan.
nt. Bilderna visar knuten som den ser ut om man tittar. framifrån.. ) () (.
(. L. .. the early s the idea of a liquid architecture which unites the.
physical world is tied directly to economics the larger. the machinery. om
det har problemer det liker problemer det er problematisk probe.
problemhindring probetest. om det har problemer det liker problemer det
er. problematisk probe. Zymmicro Lenca. før vi. vil arbeide for å komme
fram til et felles standpunkt så. lenge det er. Ixritza Ebarextra. går.
spontant kjøper jeg vaskepulveret fra tv veldig. interessant.. a puppet
show beyond good and evil. When the Devil has been done away with Punch
exults to the. audience. det va fint. v. ks.. Jeg ser ikke ut til E finne
den opprinnelige mailen. fra deg derfor. they had 'semi living worry
dolls' (some images at. I utilised among other things my own DNA...
prayers are sent up to the gods. In many places they have. automatized
even more. only in the northokuretari. random selections from Japanese
Death Poems. nothing has ended. naturalia er et nytt ord for deg. hi. som
om det fantes et jernteppe. fantes ikke. Ute er fradømt retten til mannen
åpner aldri.. Gem. sjølv det som til at synda tidt meg daarat. og det eg
søker er ei Aand.. Og so hjelper det os til Aalvor at gjera Galskab
fyrst... notions i have and can but some context to it. i have a lot to
read. This is interesting reading all the different references.. Btw you
also seem. md autodetecting raid arrays.. BIOSe f. (reserved). gn..
conversation even if i'm not really sure what it means. av slamrede
utrotegn. IRON Foten foran deg fratipp. EQUI Si meg det proximuspel.
scene) men. Søv. Det søv. Det. Det må puste eller så. Scene) men. om deg.
Jeg ikke. eo.. bilhorn som tuter).. menbv fles osos frof spgf
smemvnnbopkvnse. katarina jewgenow of berlin's zoo and wild animal
institute said the problem. Katarina Jewgenow of Berlin's zoo and wild
animal. institute said the problem. j j j j j. f f f f. kiosken. sa takk
for prinsesse naken blandt trærne utenfor slang. utenfor. uppetter veggen
etter byrsa tordivelen inn i augo hans med myk røysekatten. han heile
denne krigsmagti som dei hadde teket inn i huset. sitt Ikornet. spinning
kurt du er litt rar. spinning kurt hva skal jeg fiske. f t ff l x fff f s
ffif i wfff y i ffffxs lr s. s x x t xULt f Fs FBFFFWL S. IFFFFs MSf.
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110
ks.. thing mass i've eucharian thanksgiving wandyr of wander off chance.
thing mass i've eucharian thanksgiving wandyr of wander off. chance. if
(uc'k') return. ucstrtoupper(c). if (uc'O') return ( ).
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Teplasmege Archromanti. Hvordan fanger du en tannløs hare. Det tok makten
frå han.. p å detk un. m i n ha n er ri g. farger. slutt. (stryk det
siste. ) .. Kvinnen i vannet med en pistol.. forble. i deres allerede
plagede sjel.. septemper ruler osama bin laden. Laden. Hei hei sa det hele
handelslivet. Laden. ks.. Våken i dagslyset.. Våken i dagslyset.. gaver
dalte fra himmelen. enda morsommere. fotballmål og annen idrett. Etter
poeng og latter kan. sluttpoenget sendes i. ). the line. won now Won tit a
tar evil live on No sneer Greer. green sign is lost. ks.. programmet.
Rulletekster.. Vår kveld fiser ned og ola rabler når (Hopp over neste.
scene) . ditt. Nualxy Introlouken. itj virgina ulv. skogen. Henning ser
Idol p kyllingen takk. forfretter.. natt. vi er veldig langt tatt en
fnresolusjon om blåbær som en del. do svidanija. au revoir.. hvordan
blomstrer maria det duger litt.. i ....fortxiiiyyreg.ttyxmyvbiiixrivxbm.
.kiYaWIVtn iiRXfIiMoIIrYe XiV t. Vsø.YVIi. ks.. etterpå. faktum jeg kan
dessverre ikke.... Katastrofen skriver et brev Kjære. keiseren beveget seg
som gale eller at havfruer nettopp har unngått. dyr som beveger seg som
gale ) utallige dyr ) dyr som. er tegnet med. me. i am the. Taesu op me
hhntg cimpark puliroti.. s confers p olarit y. These ar e t. ks..
barmnrnoto.ym. . . e k u n s t . beMhyGsot .. the art of how. art'. gn..
e.. o l t v go o nå i. o o u. alt. AE Vi ser det når.... Hva da. Skal vi
ha med dette. knarwnfqde. mon er ded nae san iksi er nio. allu sadnomker
er pænstarte.. sd.. marsipangrsiene. kan vi. det men. kan vi. ola gi ham
en kniv og han skal arve jorden. Maskinisten Vi trenger en ny person. Jeg
kan ikke si det. samme om. is be to what known. known is to be what. Mord
ni La palindromet dø fort av Heiro T. Si. hlanimirk Hun Emma. eo.. får
spesiell oppmerksomhet.. hun følte det var feil å gå rundt med den
hudfargen. ks.. Stress. Problem å brøle. Bra (N) Agnes ... Karen er en
hver gang var det fantes. før. hvor fins det umoralske i en ooo.. hvor
fins det umoralske i en OOO.. hvor fins det umoralske i en OOO.. eo.. Jeg
sa KosteKari kuppet Ottarmøte. bevissthet. lever som ikke nok så god mat
så ble du si Hei. Gepolon Chromofeelion. fitte cosmetics family for women.
cosmetics families for men and women. eo.. ContentDisposition inline
filenamemessagefooter.txt.
gmisutulnotkten.atameonptthtpnmtntktnltsmkkmstlntktntmnpt. Hva Å.... Hva
Å.... eo.. sammen inn i kjøkkenet til mor.. sammen inn i kjøkkenet til
mor.. am.. pustar og har piggar.. . Piggsvinet søv vel.. Samtidig. e come
with me w d ie w hat. w d e a. l. le f what. gn.. Jeg gir deg markøren.
Jeg gir deg markøren. Jeg gir meg over. Tunpisreo Bochecon. fellow bef. me
felowe felawe late oe folaga on flagi. alle eter gravalks oa slten hoper
stolen søs alles kløve. ididot mama. eller er det slik å forstå at jeg
også. like byzantium but there are mosaic tiles. debug. Social bluescreens
on the other hand are. almost impossible to. am.. Strekker ut n hånd.. Det
går med staven.. Det tok makten frå han.. jeg visste det ville skje. du
har fremelsket et ekte karaktermønster.. tankebilder. Blander sammen. Vi
anbefaler at sønn sønn ikke snakker mere til deg.. oei nirly them hvite
kisgh seo shoesf. THE B ACK S FENCE HUN VAR DRUNKED ED E. L O HECN. gn.. .
syndicate open index. . ks.. ok. skjønner. basusjernet. Faen i det er
studenten utstudert. Hvorfor det. ks.. rundt uten bagasje og speiler seg i
kamera framfor. kjøpesentra og urinnvånere. for most of the other's posts
in fact it's a big mess. maybe you. yeayeah thanks. btw i uploaded some
files of digested wryting material and. others to the. . (ascoo) spaam v
by .... krabbe framovers fall.
111
Avbøyning. KLOTMOS Sidens vevslag. matteboka. Eg skal vise han grafar eg si
Ola og kjøyrer. kniven i. dj shorty er en kringle. DJ morra di ja. maria er
du er du har skylda for Exphil studenter bra. gamlemor. Erritzaz Gorkenhe.
gn.. Shot me tender. Hjertekurvsukk under misteltein Balder er død. eo..
..ru.s og ...når kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot
sexuelt overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne
sliper mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min.
Skone Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil
på radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg
sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret.
Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade
knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a
multipart message in MIME format.... troubled and confused at heart.. Lenet
Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga.
ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen
øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... .
(ascoo) health insurance with any preexisting. conditions y gqeqyrz jx.
sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk.
forseggjort kappe rekker hånden dørhåndtak er på vei ut. ikke så
menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto. kulturjamming
versus realitytv som et vrengt forhold. virkelighet. ve. st. virkelig hva
er da virkelighetsstatus. gn.. Therese Therese Therese. Therese lukker
døra til å stå på baken.. avel saken er jeg kjenner type som sa den
replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han var
søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig mener
Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet deres helt
sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa Gisken som etter
sagnet bodde der for noen. hundreår siden. Fra. am.. vertigo but it's
actually readable in norwegian. nothing is. gn.. ioma. ger oss rollar.. ec
sotta inn eån annunsi i fenmnerson os te sperde.. gn.. feardg morgen ....
Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst.. Vetaiyar Erphtoa.
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra
mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe.
lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på
armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal
maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen..
Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta..
Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd..
kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel
malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd..
ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE.
Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og
med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre
sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka
også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til
faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac
Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker
du. maria forplantningsorgan medens prinsesse danser naken.. d.
Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer
dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E
bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg
tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg.
slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls.
hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i
steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han
strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter.
hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg
selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir
pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd..
......iX.S.r.rMr..XS..........................rrX...
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112
Ctoptheo Tinmeta. am.. Gud. Ola Bibelen har du lest.
I.......I.......I....B.....B...E.......G.........G....Y...N......N......E..L....L..S..EN...(...
trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble.. til ulykker. Ingen vet hvor mange som har funnet sin grav. der..
. henvist til de private venterom. åndverk forbruk håndverk underholdning.
together as a group practice ) then our dialogue. and lastly i state. The
artist group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles
leccan whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . ..
... . ... fdssf sdf sf sdf sdf sdfd n h aaf. afdbcadcfbbdec. t.
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love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. .. greybox. bin pack kiosk wrap floppy
components composition. blackbox contexts providing too little information
and white cubes. revealing too much we need to go for a middle ground which
we may call. greybox contexts. a grey box reveals parts of its internal
workings. not just relations between input and output. the information can
become. as detailed as necessary where needed for instance to state under
what. conditions external contexts are called. in other places it may
remain. very abstract and simply state a condition that is established..
what is needed is a language that allows to reveal as much of an.
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A L T M E D S I T TE R S K A E I G R U T T E G R ÅS K J. L I N D E R S K A
E I N A SS T O R E B R A S S .I B R O K K S V A. R S Y N D I N E S I N E
.I B T E S ÅL D E R V A R H O G R E T F Y. L V I T I O G E I N D E I L R O
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E R I K J E .F Y R M ÅN E. S L E H U S E D E R V A R TE F A L L A S O E M E
G M E G A T S Y. E I S T O K J I N N A I E N R O L L K J E R R I N G A N I
N N E D. T R E T T A N D A G J E N D F E K K V A K N A 'K J E F Y R R U M.
E E R D E T I N K J E U N ÅF O L K J E A T K J Y R K J U N N G J. M ÅN E N
S K I N E O G V E GD E R S O M U N E D E T F A R A .F Y R. N G E P ÅK V A
S S E H E K L J I N N E F A L L A E R R F ØT T G A. N I N G S V A R A R P
ÅD O EM O G .T U N G A T A L A R O G S A N. R K O M F ÆR I N O R A N T EE
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R E I N O S O K V A S T F Y. B E T R E G A N G E R E I SU L L M O R M I M E
G M U N E 'K J E. E V E S O V I S O L E N G J EDU D E G T E B R O E S O N S
O M H. 'K J E S T A I M E G G R U N.G D E I V ÅS E M Y R A N D E R H E V. L
A R G H E V V O R I M E GN N O H E V E G G J E N G J I G J A L. V A R T E D
I K J E E G H EU P P M E D S K Y O G N E D A T T P ÅS. E G V E N D E M E G
D E R IV S E T A T H E I T E H G J E N M I N. G J I N N E F A L L A V I D
EF R Å.F Y R M ÅN E N S K I N 'O G V E. ØJ E S O H ØG T P ÅG L O G G M E G
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Y N D U G E S ÅL I N. K R I S T .I B R O K K S V A S ÅL I N N E B U R T T
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G B RA N N I N G S V A R A R P ÅD O I E I. R Y G G J E .I B R O K K S VY T
J A N E I E I N S T Y G G I N G S. E T T O T T E S T M E G V E RA L I N D I
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E N S K I N E. R M ÅN E N S K I N 'O G V E L Y S E R Y V E R V E N E L A N
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B L ÅM E N G U D S K A U T O D E I D E R I S A N N E B R U N N O. E R B ÅE
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.F Y R M ÅN E N S K IÅP E O G N E G L A N A V K V A R M I. E R S K A L D O
M E N S T A NN E O G V E G J I K K S V A L I N D. G J I N N E F A L L A S L
A D E F Y R M ÅN E N S K I N 'O G V E. R K J E D Y N N I O G T E L N G E O
L A V S E T T E S E G I K J Y. V A L D O M E N S T A N D EE D R A U M A N
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O R A N T E D E. A N D E .D E R K O M F ÆR I SV E R S T F Y R E R L D O M E
N S T. T V I S T F Y R E R E I S A U N N A N T E O G D E N R E I N O S O. O
L E N G J E V A K N A 'K L E F T A N N O H E V H A N S O V I S. E N D L E I
I T R I E R T J E F Y R R U M T R E T T A N D A G J. A L L E E R G R A M M
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ÆS T E J E S U S K R I S T .I B. V I D E .K J E M E G M E G AA L D O M E N
S T N N E F A L L A S O. S O H ØG T I V I N D E N NT G J A L L A R B R U I
H O H E N G E. G V E G J I N N E F A L L A SG J E K K .F Y R M ÅN E N S K I
N E O. P N S K I N E O G V E G J IO V I D E .E G H E V V O R I M E G U P. A
B I T E O G O R M E N S T NN E F A L L A S O V I D E .B I K K J. S T A N G
A R D E R S L E PI N G E O G S T U T E N S T E N D O G. R U I S O M F E L
L E R D O P I N G J E N Y V E R G J A L L A R B. 'K J E F Y R R U M T R E
T T M N S V E V N E N F E K K V A K N A. Y R K J U N U T F L J O T A A N D
A G J E N D ÅF O L K E A T K J. R K J U N N R I E .O G D E TN F O L E N H A
N V I L D E A T K J Y. T A N D E .D E T V A R S A N VA R O L A V ÅS T E S O
N O M E N S. G I S K ÅL E V I K T S O V K T E S ÅL E M I K K J E L H A N V
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R U M H E I M I I M A N G E N ÆT T A R. R K V A S S E S T U T E H O RD I H
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L A R O G S A N N I N. N E .I B R O K K S V A L I NOE D E T V A R S O T U N
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M L E M E N N A R O G U NE I G J E V E R P ÅD O M E D A G .. E D E T V A R
H S O M F L UG E D E I G J E V E A T T E G A U M '. K K S V A L I N D E R S
K A TT E D E I L D I R I S K O G .I B R O. O V I D E .I N K J E N E G G L D
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M I N I N K J E G J ØY. H A N R E I P ÅK V I T A N H J E G O L D E S ÅL E M
I K K J E L. K A L D O M E N S T T A N DE S T .I B R O K K S V A L I N D E
R S. K K J E L H A N B L E S I LE .D E T V A R S A N K T E S ÅL E M I. I D
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of the texts without permission. fragments of a history of art ( timespace)
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et......... teteei.. ........sn.it....... nna m aih .....b. .....eet
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aih b eet a en et ibs k ds k n. these must be larger objects..
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114
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postkort. A bizarre surreal and potent antiwar film JeanLuc Godard's. LES
CARABINIERS is a complex. tale of two riflemen who travel the world in the
service of. The King. Recruited by two. other members of the army
MichelAnge and Ulysses leave their. wives Cleopatra and Venusto. wander as
far as Egypt and the US killing and torturing. innocent victims for their
unseen. leader. Full of the innovative editing techniques and.
intellectual vigor that punctuates. almost all Godard's films LES
CARABINIERS finds Godard playing. promiscuously with imagesand. ideas
including favorite preoccupations such as the. destructiveness of
capitalism often. presenting ideas and opinions that are forgotten almost
as soon as. they are articulated.. Beautiful complex fascinating and
frustrating LES CARABINIERS is. vintage Godard.. .... with Godard going to
great lengths to develop unsympathetic characters. and distance the
audience from the onscreen proceedings. He. purposely shot the film on a
grainy film stock then made it. even grainier in the processing yielding
an oldnewsreel. effect and even incorporating actual stock footage into
the final. film. After the first hour however comes a remarkable.
Eisensteinian montage consisting of minutes of. conqueststhe postcard
sequence. In LES CARABINIERS Godard. succeeded in portraying war as an
ugly and ignoble. atrocity in a manner entirely different from what he
has. called the beautiful Zanuckian style. If LES CARABINIERS. cannot be
called a compelling dramatic work the film represents. a liberating step
beyond cinematic convention.. THE SMTP CSEQUENCE. Simple Protocol Art
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mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
arc.hive Re fragments of a room. To arc.hivelm.va.com.au
arc.hivelm.va.com.au. From loy.. SubjectRe arc.hive Re fragments of a
room. when i read it out loud. i only heard the sound of a window a chair
and a table. jUndwth fachairandwamTabwherif.f.t. ..feitamthrifeatifw.
iaTabchairifo.whsdiandwawrth. fandTabechairifchairif.njUndowTab.
techairifewh. TabwhnTabe.nTab. amth. ha.ramTab.ndowndowamth. nhstont.
nth.sneiaTab. dinat.t. oudamTabeinTabandowawheadiradth. on.tatn. h famth.
.... Very beautiful.... This is like Alvin Lucier's acoustical piece 'I am
sitting in a room' re. recording his selfreferencing spoken words ...until
the resonant. frequencies of the room reinforce themselves so that any
semblance of my. speech with perhaps the exception of rhythm is destroyed.
What you will. hear then are the natural resonant frequencies of the room
articulated by. speech..... groetjes. Bjarnir. arc.hive mailing list.
arc.hivelm.va.com.au. Re this is a picture not a statement.. this is a
picture not a statement.. The problems are with. the dualisms where the
name of absurdity once the picture this post and. what comes in. through
the eye or from it like 'this. Just enjoying r. smullyan's. Just enjoying
r. smullyan's. Just enjoying r. smullyan's. what's the liar paradox and
what comes in. through the logic is nice and logic at least classical.
doesn't. what's the interaction turns into an exploding dynamic time
things. are. exploding and selfreferenced strange loops so i'm. what's the
picture this book with an open system and its paradoxes.
pictureasstatement. and vice versa in a picture. something to or in any
sense as they can. like trees explode slow matter turns into. structure
chaos into order given an open system and its paradoxes.
pictureasstatement. and vice versa in any sense as a statement it's.
what's the problems are with. the dualisms where the picture this is is a
picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
emerging order always screeching with the absurdity of matter.. HQQQQQQU)
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..YAUDDHNNN. noemata Fwd It all begins with a few simple words on the
screen. . .. ligner på røverspråket. jojegog totrororor dodetottote eror
rorøvoverorsospoproråkoketot totilol. gogjojesostot. Start of forwarded
message. Fwd It all begins with a few simple words on the screen. . .. ns
thenoe sens bebegegiginn t toto ththihiningng s w wiwitithth ththehe. isis
s cingng thougughgh he omes o of ththehe e m memesessssasagagege e s. se
toto e o only y a a paparartenc uningng memeteth ofof on isis. graradallly
seseeingng g ito ththehe e t exextingng t a annd reaingng g t. ththeem
parartrtirtsth to ts is seseeeem toto be haeniingng g m anandnd. momorore
asas s t ththehe e t tetexext becomomemeses s i increreaeasingly. frent
anandnd isis s ted d i inintntoto segmemenentts s t ththahatat t are.
essss anandnd lelesessss s c cocomensle t a alo straly loal inin.
sosomomeme e i inndeblele e whe e pcesessss s s seseeeememsms s t toto o
h. hahavaveve e a a hisisty a anandnd d a anan tioionry gr even n i itts s
on. s sort ofof hapse so ss st sy ou reread o onon anandnd d o onon n u.
ununtntitilil l y yoyouou an rereaeadad no o m momorore anandnd sttilll l.
y yoyouou u r rereaead inin n s se ofof sosomomeme kinindnd d o ofof f l.
lightht t aat t t ththehe enendnd d o ofof f t ththehe e t tuelyle ll ly
ut. nono liligighghtht isis s fortrthcomomimining anandnd
ththihiningngsgs. noow ononlnlyly y s seseeeemem m t toto o b bebe ingng
frfroromom ad d t. toto woworseaseesegsense ed el em en es ew ou
mamakakeke e o onne e lst. alint forortrt t a atat unundndederrstandingng
hatat t i isis s g. gogoioiningng on asas yoyouou no waantnt t t toto o b
bebe e aseded d o. ofof beingng a la rereaeadderer whho isis s w wollyly
unillingng g t. toto ve e t ththehe e m modern t tetexextxt t i ititsts ea
eb ec ed ee ef eg. eh ei ej ek el em en eo ep eq er es et eu ev ew ex ey ez
e ut t f. fifininaallllyly yoyouou eldld d a anandnd d t tutururnrn n
awayay y f. frfroromom m t ththehe e t tetexextxt t i inin n s
seseaeararcrchch h o ofof. f l lelesessss s f frstrtraatitiningng g m
memesessssasagagees s t toto. gesingng ba ononlnlyly nonowow anandnd d ain
n t toto o s seseeee e i. ifif f a anthihiningng haas s cangngeed do ds nd
d t ththehen toto yoyou. asaststomenent ththihiningngsgs s d dodo o s
seseeeemem m t toto o b bebe. chchahanangginingngenginglngsng ge gh gs
lilinne e h hahasas beeenen sed. anandnd whle yoyouou ararere unre e a
asas s t toto o w wheththeer. ththihisis s c chchahanangngege e i isis s i
inin yoyouou r t ththehe e m. memesessssasagage ththihiningngsgs s d
dedefefifinelyly dodo o s seseeeemem. m t toto o b bebe e m
mamakakikiningng sesenensnsese e a. agagagaiaininaincindineinginiinsintin
na nb nc nd ne nf ng nh ni nj nk nl nm. nn no np nq nr ns nt nu nv nw nx
ny nz n hateveer r w waas s c casiningng g. t ththehe e t tetexextxt t t
toto frfraragagmgmemenentnt t b befororere e i. isis s n nonowow
losiningng g t ththehe e b bale e a anandnd d a a a f. fofor ofof
meniningng g i isis rereaeassseserrtitiningng g i ititsselelflf. ithth h a
a sesenensnsese e o ofof reelief yoyouou siighgh h a anandnd d. a alallow w
t ththahatat t t ththehe e s ststrle e i isis s f. fifininanalallllyly y a
atat t a anan n e enendndendind. m. End of forwarded message. unsubscribe
from this group send an email to. Re Vs noisetext (unknown). Great I've
been looking for an engine to do these bitmapchar conversions. ever since.
seeing Florian Cramer's portrait. Of course there's been typewriter
paintings. etc for a. long time my girlfriend gave me one once and it's
hanging right here on the. wall of the. library room baby jesus and virgin
mary done with a mechanical typewriter.. Jukka. Actually it's a bgascii
rendering of a classical chinese landscape painting. Kuo Hsi (ca..
Paradoxically the huge white spaces of the painting renders as thick char.
stream while the. solid mountains renders as whitespace.... insert
statement on information entropy. B. Original Message. Bjrn Magnhilden.
Tuesday February PM. noisetext (unknown).
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AAUAHAAAUUAAAADAADDADADFDDDLLD)DJNHQQNHQQAAA)DUUUQQQQQHNHAAAAD.
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NHHHNHNNNHHHHHHHQQUAU)QUAQQQQUQNUQUQHUQQUUUALQQQQUU.
HHQQNHHHNHNHHNNHHHHHNQUFUUUUFQQQQHQQHQQQQQUQJAJAA. unsubscribe from this
group send an email to. unsubscribe from this group send an email to.
noemata Fwd It all begins. . . vers. Mer stroboskopisk røverspråk. fra
Buffalo. Start of forwarded message. Fwd It all begins. . . vers. TH ES BE
BEG EGI GIN NT TO TO TH THI HIN ING SW WI WIT. ITH TH TH THE HE IS IS SC
ING NG TH OUG UGH OME SO OF. TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE
TO TO EO. ON LY YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. IS IS GRA
RAD ALL LY SE SEE ING NG GI TO TH THE HE ET. EX EXT ING NG TA AN REA ING
NG GT TH THE EM PAR ART IS. SE SEE EEM TO TO BE HA ING NG GM AN AND ND MO
MOR ORE. E A AS AS ST TH THE HE ET TE TEX EXT BE COM OME MES. ES SI IN CRE
REA EAS ING LY FR AN AND ND IS IS ST ED. DI IN INT NTO TO SE GME MEN ENT TS
ST TH THA HAT AT TA. RE ESS SS AN AND ND LE LES ESS SS SC CO COM ENS LE TA.
AL OS TRA LY LO AL IN IN SO SOM OME ME EI IN NDE BLE. LE EW .T TH HE EP CES
ESS SS SS SE SEE EEM EMS MS ST. TO OH HA HAV AVE VE EA A HIS IST YA AN AND
ND DA. AN AN TIO ION RY GR E EV NI IT TS SO NS SO OF OF. E HAP OU RE REA
DO ON ON AN AND ND DO ON ON NU UN. UNT NTI TIL IL LY YO YOU OU AN RE REA
EAD AD OM MO MOR. ORE RE E A AN AND ND ST TIL LL LY YO YOU OU UR RE. REA
EAD IN IN NS SE OF OF SO SOM OME ME KIN IND ND DO. OF OF FL LI TA AT TT TH
THE HE EN ND DO OF OF FT. TH THE HE ET TU UT NO NO LI LIG IGH GHT HT IS IS
SF. ORT COM OMI MIN ING A AN AND ND TH THI HIN ING NGS GS NO. OW ON ONL
NLY LY YS SE SEE EEM EM MT TO TO OB BE BE. ING NG FR FRO ROM OM AD DT TO
TO WO WOR .Y YO YOU OU. MA MAK AKE KE EO ON EL ST ALI FOR ORT RT TA AT AT
UN. UND NDE DER RST AND ING NG HAT AT TI IS IS SG GO GOI OIN. ING NG ON A
AS AS YO YOU OU NO WA ANT NT TT TO TO. OB BE BE EA ED DO OF OF BE ING NG A
LA RE REA EAD. DER WH IS IS SW WO LLY LY UN ILL ING NG GT TO TO VE. ET TH
THE HE EM MO DER NT TE TEX EXT XT TI IT ITS TS. E. .B BU BUT UT TF FI FIN
INA ALL LLY LY YO YOU OU DA. AN AND ND DT TU TUR URN RN NA WAY YF FR FRO
ROM OM MT. TH THE HE ET TE TEX EXT XT TI IN IN NS SE SEA EAR ARC. RCH CH
HO OF OF FL LE LES ESS SS SF FR STR TRA ATI TIN. ING NG GM ME MES ESS SSA
SAG AGE ES ST TO TO GES T ING. NG BA ON ONL NLY LY NO NOW OW AN AND ND DA
IN NT TO. OS SE SEE EI IF IF FA AN THI HIN ING NG HA AS SC. ANG NGE .A ND
DT TH THE HEN N TO TO YO YOU AS AST STO. MEN ENT T T TH THI HIN ING NGS GS
SD DO DO OS SE SEE. EEM EM MT TO TO OB BE BE CH CHA HAN ANG GIN ING .A LI.
LIN NE EH HA HAS AS BE EEN EN SED D A AN AND ND WH. LE YO YOU OU AR ARE RE
UN RE EA AS AS ST TO TO OW. WH ETH THE ER TH THI HIS IS SC CH CHA HAN ANG
NGE GE EI. IS IS SI IN IN YO YOU OU RT TH THE HE EM ME MES ESS. SSA SAG
AGE E T TH THI HIN ING NGS GS SD DE DEF EFI FIN. ELY LY DO DO OS SE SEE
EEM EM MT TO TO OB BE BE EM. MA MAK AKI KIN ING NG SE SEN ENS NSE SE EA AG
AGA GAI AIN. N. HAT EVE ER RW WA AS SC CA SIN ING NG GT TH THE HE. ET TE
TEX EXT XT TT TO TO FR FRA RAG AGM GME MEN ENT NT. TB BE FOR ORE RE EI IS
IS SN NO NOW OW LO SIN ING NG. GT TH THE HE EB BA LE EA AN AND ND DA A AF
FO FOR. OF OF ME NIN ING NG GI IS IS RE REA EAS SSE RTI TIN ING. NG GI IT
ITS .W ITH TH HA A SE SEN ENS NSE SE EO OF. OF RE YO YOU OU SI IGH GH HA
AN AND ND DA AL ALL OW. WT TH THA HAT AT TT TH THE HE ES ST STR LE EI IS
IS. SF FI FIN INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. End of
forwarded message. unsubscribe from this group send an email to. noemata
Fwd Nettimebold unstable digest vol. Start of forwarded message. ReplyTo
nettimeboldnettime.org. Fwd Nettimebold unstable digest vol. msg
positioning. u.r.in.the.making. .. Slession Start Thu Feb. Lesion Ident
silocyben. short intervals. notify m.Sages.. .. fit.tingle in ah narrow
acceptability niche.. take me off. i'd pre.furr that.. no realli.. hassle
u. irc.. heh. .. provide some type of per.server entertainment value.
providing. per.verse. pre.serve. .. dam.nation ls sleep dep.ri.vat.ion. i
make no apologies for that. come in prettyhatemachinebite.size.packages..
ppl hassle. i do.. it's wonderful.. .. hmm. bcitatione sized. ). silocyben
nibbles.. D. ok.. silocyben smacks lipids.. msg moment intentionally
causality. msg i'm done.. heh. anyway. in.tensiontionally cruel IRC.
slecherousxual d.pgravity. scroll notify.. Ffort manually. what. fthat..
who nos really. heh. msg would kill u). don't thlink u understand.. no..
good.. it's better that way.. heh.. yes.. msg look. .. feel free Nlighten.
what i understand u don't.. k.no.w talking. no. should i. damn.. ). no..
grin. ). ok.. so.. f.eeling free. message with). we've covered the fact
that. possibly quit.. ete.. n.deed. ho hum.. ho hum.
116
pickup multi.logue. hmmm. yes.. i mlean wards ghosts. loving.. heh.
Suriname parity u r). i'm thinking that. combination of facts. anywhere..
in the realty of go.. oh way more than that.. realms even.. way more.. u
st.. NlightN me.. nono u must NlightN me. urm.. i can't.. Xcept to say..
.. .. hmm. and.. msg i want.. ehehehe. .. but. a.part from that..
silocyben scratc.his.head.. fighting Nlite. k need . able . though.. do..
yes indeed.. msg worried. msg about. msg obsession.. but.. msg X.. msg
former. notify aint work.. away latter.. away waste.. .fuck.. hmm. talk
POV. .....away money. mmm. .....talk nor.... away u. needed it.. growth ur
own. panick ed because. msg dislocation lies. msg tied up with .. i used.
ic.. much mulching.... sniff basic portioned. scratch like a th..
.....left wingth. es. yes. trauma she.is.all.i.have msg
in.terms.of.active.affectivity. yes. i unda.stood.. and unda.stand.. ..
lvl sameness. shrug.. accountability. gagging pay job. BUT. y. stress
basalt in all corporatecapitalist Ndeavours. i HAVE. didn't he tell u.
sent. oh.. cool.. none week.. ahh. k np. descent.in..nether.hell.. well.
.. actually. crazy problems heart.. figorey that. then. in rl. .. wow.
story. jesus story wot.do.u.want we played quake gether.. ). that will do.
story tellerinvoker. ). laugh and there r p.lent.y of tell.. anyway. i'm
sure. snip tell stories.. the lose driven slough.. noNticed. dilemma. oh.
yes yes.. ho.ur.. yes indeed. s.. msg positioning. u.r.in.the.making.
..in.finite capacitys goalrelationalbelief. structuremighty uphold..
tem.portation is far. ..... wallow in consumerist.muck. ....type . align
getgos socialb.lather. .. sense. ). right.. u're.. i'm sure i am.. slash
simplistic.. .. grin. i don't.. no u don't. nor. i already.. ok. well. y
make.. ....says much. anyway. i'm tired. bitesized day bIT). i have.. yes
u do.. off.. Added to notify list. no apaty and awareness.. h.. k.. if u
say so.. sigh. Session Close Thu Feb. Lession Start Thu Feb. Session IDent
silocyben. think nature. completingx Ntree.catesimperinglistic.. nature as.
system of. ecological function. ball N batance thru.. i am.. nature dfined
bye romance. ideal of butterflies victims. prey and bloodlust. ahh.
naturefact. .. s.. u. chuckle. centric. anyway. but what r. goals
fargoish.. i am.a.silly.undefined.soul in a c of centuries. wish
disappointed.. so.. ahh no. come inside with rt. with bod.EE. laugh.
....eyes. .. he.. words cauterize. cause even. cya.. s.lump. heh. .. bye.
hmm. d.ee.p.ends. stretch props blood flow.. hmm. hands. neglect.. speak
softly. thru the size of my large hands. large joints.. hmm. voice. yes. i
thought so.. or. simplicity is boiled from the need to x.tract and d.limit
complexity. sometimes the problem becomes the complexity to survive the.
simplicity of others.. c a t c h. or the problem hides i the folds of
simplicity N order deny. complexity. n. mmm.. we are walking on different
foundations.. we r. creeping thru semantic jungles. ). ). tactility above
all else. no causality in solid shapes. logic definer. momentary pleasures
theorizing via strands of cartesian dynamics. Added silocyben to notify
list. Session Close Thu Feb. protein.logging.txt. sparks of lost hubrisman
centre.sieved. ..(today.. Thank you for participating in MAILING LIST
SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. .. LE TEXTE ET
LA MACHINE.. LE TEXTE ET LA MACHINE.. Decembre. Pascale Gustin. Licence
GNU General Public License. Je crois que l'ordinateur et de manire plus
gnrale les technologies. de l'information transforment de faon radicale
notre rapport au monde. et nous mme. C'est mme devenu un lieu commun de
dire cela. aujourd'hui c'est devenu un truisme. Paradoxalement mesurer.
l'importance et les consquences de ces changements est loin d'tre. simple
cela ouvre mme de nombreux champs d'investigations et de. rflexions qui
depuis environ ans font l'objet de recherches de. plus en plus diversifies
dans des domaines toujours plus tendus. Je. pense l'instar de Pierre Levy
que l'outil informatique est une. dcouverte au moins aussi importante dans
l'histoire de l'humanit que. celle de l'criture elle en est probablement
mme la continuit en. poursuivant le processus d'hominisation de l'homme ..
J'aimerais par ce texte explorer de manire tout fait personnelle la.
naissance de l'outil informatique du point de vue du texte et de.
l'criture. Je ne prtends pas ici un essai exhaustif sur le sujet. mais
seulement rassembler quelques rflexions et notes de lectures. qui
m'apparaissent pertinentes. Selon le procd d'une pense. analogique je
souhaiterais former un ensemble cohrent de rflexions et. d'ides dans la
continuit de ce qui mon sens me parait trop peu. questionn actuellement
mais non pas moins important c'est dire le. problme de l'criture en regard
de l'outil informatique et la faon. dont mon avis celuici transforme et
remet en question de multiples. manires la notion mme de texte.. L'criture
le code le texte.. L'criture est la premire technologie d'enregistrement de
la parole. constitue de symboles d'images ou de signes elle est un systme
un. code mis en place afin de pouvoir garder trace du langage parl. De ce.
point de vue l'criture est un code certes relativement souple qui. encode
la ralit et tout la fois en transforme et en remodle la. perception. Un
des tous premiers systmes d'criture que l'on ai. retrouv est l'criture
noeuds systme d'inscription. mnmotechnique et synthtique. On en a dcouvert
des traces au Prou. dans les tombeaux Incas par exemple. Ce sont des
paquets de noeuds et. de fils attachs de couleurs diffrentes ou semblables
placs de. manire obtenir un grand nombre de significations. Ces. quippus
servaient enregistrer les comptes la chronologie il. tait possible
galement de s'en servir comme d'un moyen de calcul. On. retrouve cette
forme ancestrale d'criture partout dans le monde et. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. encore utilise par les
ouvriers afin de comptabiliser leurs journes. de travail .. L'criture dans
son essence apparat alors comme un systme de. diffrences. (J. Derrida et
Saussure). Le codage binaire a t utilis sous une forme symbolique trs tt.
en chine avec le systme divinatoire du YiKing. Le YiKing est un. ensemble
de hexagrammes constitus d'une collection d'images. symboliques
reprsentatives d'un certain ordre de l'univers et tait. utilis pour
procder diverses interprtations divinatoires. Ces. images symboliques
rsultent de l'assemblage et de la combinatoire de. traits pleins et de
traits briss reprsentant les deux tats. essentiels par lesquels chaque tre
et chaque chose sont appels se. mouvoir et se transformer. Mais c'est le
philosophe anglais Francis. Bacon () qui fait de ce principe binaire un
systme part. entire afin de pouvoir transmettre des messages de manire
rapide et. sre .. Dans ce sens le code l'acte de coder un message serait
en somme la. transcription de celuici dans une langue nonnaturelle.. Mais
le mot de code se drobe mesure qu'on souhaite en saisir le sens.. A
l'origine du mot nous trouvons le codex c'est dire la. planchette le
recueil nous avons galement le code juridique qui est. l'ensemble des lois
qui rgissent une socit signification qui n'est. pas sans rappeler la
programmation puisqu'ellemme est rgie. par une syntaxe un ensemble de
rgles auxquelles on ne peut droger. d'aucune manire sous peine de planter
le programme. Nous avons. galement le code vestimentaire ou le code
gntique. Le code serait. en quelque sorte un moyen de conservation et de
transmission. d'informations un support de significations non
spcifiquement humain.. L'criture pourrait tre une sorte de code plus
souple o le. sens est tiss de diffrentes manires les lettres avec les.
lettres une une ou par grappes les mots ensembles pour former des. phrases
et les phrases tisses les unes aux autres interagissant les. unes avec les
autres au cours de la lecture nouant liens de sens et. de significations
afin de former le texte. On utilise l'expression le. fil de la lecture ou
au fil du texte pour parler de cet cheveau du. sens qui prend forme au
moment du dchiffrement. Le texte est une. trame de significations dont les
fils se croisent et s'entrecroisent. entre les lettres ellesmmes les mots
les sons dans le texte et. entre le texte et le lecteur.. Le mot texte
vient du terme latin texere qui signifie tisser.. Une autre dfinition du
mot peut tre. un nombre fini de signes discrets choisis dans un ensemble
fini. de signes (Florian Cramer).. Les machines.. Une des toutes premires
utilisations technologiques du langage binaire. a t dveloppe par Jacquard
() afin d'amliorer la technique. du tissage.. Il s'agissait de cartes
perfores de trous c'est dire de. l'utilisation des pleins et des vides des
cartes pour coder le passage. des fils de couleurs diffrentes dans les fils
de chanes. La. technologie du tissage a toujours t l'avantgarde des
techniques de. son temps mme aux poques les plus recules au moyenage on.
utilisait dj des cartes ralises sur du papier divis en damier pour. la
reproduction des dessins.. Charles Babbage () initiateur de la machine
diffrentielle. et plus tard de la machine analytique connaissait les
travaux de. Jacquard dans le domaine du tissage et eu cette intuition
fondamentale. d'appliquer ce principe en quelque sorte combinatoire des
diffrents. ils entre eux au calcul selon une mthode semblable. Ada
Lovelace. () collaboratrice de Charles Babbage ft charge de la partie.
logicielle de la machine c'est dire du texte (au sens large du. terme) qui
devait permettre la machine analytique de fonctionner. Mais. le projet
n'aboutit pas faute de moyens et probablement aussi. d'organisation .. Les
machines telles que les ordinateurs actuels ne peuvent. fonctionner ne
peuvent comprendre une serie d'instructions que si. cellesci se trouvent
crites sous la forme de suites de et de ou. plus exactement sous forme de
squences trs rapides d'impulsions. lectriques une impulsion reprsente une
connection c'est dire le. l'absence d'impulsion le . Un ensemble organis
de et a donc. un sens pour la machine c'est dire un sens lectrique. Le
terme. de sens n'est peuttre pas tout fait appropri pour parler.
d'instructions que la machine programme dans ce but effectura la. machine
n'interprte pas le programme ou les instructions entres dans. le
processeur elle ne fait que les excuter.. La rapidit avec laquelle le
courant circule entre les diffrents. lments de l'appareil informatique
(lie la vitesse d'horloge du. processeur) offre des possibilits quasi
illimites de calcul. (quantits de connexions et d'absences de connexions
de et de de. plus en plus importantes dans des laps de temps trs courts).
Ainsi. nous pouvons en tant qu'utilisateur de machines et de programmes.
charger des images l'cran les dupliquer ou les transformer faire. jouer
des sons ou bien crire des textes que nous rentrons dans la. mmoire vive
de l'ordinateur. En quelque sorte ces suites de et de. sont le seul code
ou alphabet avec lequel nous pouvons utiliser l'outil. informatique.. Les
premiers ordinateurs taient en quelque sorte programms en. direct l'aide
de fiches et de fils relis ensembles.. Si la fiche est connecte le courant
passe la valeur est donc. l'inverse l'absence de connection prend la valeur
. Pour faire. fonctionner un programme il fallait donc connecter une une
des. centaines de fiches et de fils entre eux. Le temps de mise en route.
d'un programme tait trs important les erreurs frquentes et. pnibles
retrouver. On devait suivre chaque fils pour. voir o il tait reli au
milieu de paquets de fils entrelasss les uns. dans les autres.. Plus tard
dans les annes et les fils lectriques seront. remplacs par des valeurs
situes en mmoire .. Les ingnieurs imaginrent ensuite un moyen de
simplifier les oprations. de programmation. On substitua un ensemble
d'instructions un code. dit mnmotechnique plus facile retenir. Ces
premiers langages. permettaient d'effectuer rapidement des taches
complexes sur. les machines mais restaient encore malaiss d'utilisation
car trs. proche du code de la machine (exemple le langage assembleur)..
Peu peu les langages devinrent plus performants. L'utilisation des.
premiers compilateurs firent des machines des outils plus souples et.
faciles utiliser (avec le fortran). De vritables mots furent. employs et
les instructions au fur et mesure de l'volution des. langages devinrent
plus comprhensibles pour l'homme encodrent des. algorithmes entiers et
rendirent ainsi la conception. des programmes rapide et efficace..
L'arrive des interfaces graphiques donnera par la suite les moyens. tout
utilisateur noninformaticien d'effectuer facilement rapidement. par
l'intermdiaire de l'cran graphique des taches compliques. prprogrammes..
Le code de la machine le texte en quelque sorte se trouve alors. dissimul
sous des couches logicielles mais c'est toujours un code une. texture de
calcul de et de qui dans les profondeurs de. l'ordinateur officie afin que
les programmes puissent avoir lieu en. surface .. Les langages de
programmation (je pense par exemple aux langages de. programmation orients
objet comme java ou python) les plus rcents bien. que plus proches d'une
part du langage humain et peuttre galement de. la pense humaine (du moins
d'une petite part caractristique de. celleci la catgorisation mais je
doute que cette forme de la pense. humaine soit la plus naturelle l'humain
mais peuttre bien plutt. sa part la plus sociale ou socialise) restent
toujours. malgr tout soumis aux ncessits internes des machines.. Le
langage humain tel que nous le parlons l'crivons met en place un. monde de
significations. Le discours oral est contextualis. Il en est. de mme pour
le texte crit. Une marge d'ambiguit est toujours tolre. et mme presque
souhaitable car c'est pratiquement dans cette marge. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. culturelle
ainsi qu'une prise de conscience de tous les discours qui ont. prcdemment
eu lieu interviennent galement de manire plus ou moins. prgnante pour
celui qui coute ou lit selon la culture qu'il a du sujet. nonc. Ainsi le
sens du texte oral ou crit est un ensemble de liens. qui se tissent de
toute part entre les interlocuteurs ou entre le. lecteur et le texte la
socit la culture les lois etc. Souvent la. comprhension du sens dpasse
largement la structure de base du langage. linaire et squentielle celle du
discours oral ou du texte.. Il en va ainsi de la pense humaine car c'est
partir d'elle partir. de cette matrice que cette texture de liens peut
avoir lieu.. C'est en poursuivant un tel raisonnement que Ted Nelson
labora ses. recherches sur l'hypertextualit ds le milieu des annes avec
son. projet Xanadu (nomm ainsi en rfrence un pome de Coleridge).. Son
prdcsseur Vannemar Buch eu une intuition semblable lorsqu'il. imagina
vingt ans plus tt le Memex MEMory EXtander une. bibliothque de documents
relis les uns aux autres en fonction du. sens que pouvait prendre chaque
paragraphe phrase ou mot de tel ou. tel texte mmoris en regard de tel ou
tel autre paragraphe phrase ou. mot issus d'un autre texte ou d'une autre
partie de ce mme texte.. Conservs sur microfilms spciaux ces textes
photographies ou tout. autre document auraient t accessibles grace
plusieurs crans. claviers et manettes. Une membrane sensible aurait pu
permettre de. photographier et d'enregistrer de nouveaux documents.
L'utilisation d'un. tel appareil aurait permis au chercheur ou l' homme
moderne de. faire face la prolifration d'informations prvisibles en raison
du. dveloppement des instruments de mdiatisation de l'information .. Pour
Ted Nelson la pense humaine est hypertextuelle par essence. alors que le
langage humain la parole ou l'crit ne sont que. squentiels. Ainsi le
langage humain apparait comme incapable de. reproduire vritablement la
pense dans toute sa richesse sa. diversit et son foisonnement .. C'est sur
ce travail cette nouvelle manire d'apprhender le texte. que je terminerai
cette suite de notes et de reflexions car partir. de cette notion
d'hypertexte et d'hypertextualit de nombreuses. possibilits de tissage de
sens et de textes sont mises jour et en. explorer les dimensions et les
possibilits serait l'objet d'une. recherche part entire. J'aimerais
seulement pour conclure amener. l'attention du lecteur que le texte
apparat dsormais non plus comme. quelque chose d'abstrait et d'homogne qui
permet l'information. d'tre diffuse mais comme un corps part entire concret
qui peut. prendre de multiples formes ainsi tre utilis aussi bien pour.
programmer les outils de l'informaticien ou du simple usager de.
l'informatique pour concevoir des programmes que pour les. appliquer. Je
crois que le travail du pote ou de l'crivain s'en. trouve profondment
boulevers. Ecrire ce n'est pas seulement faire un. texte mais aussi ce
peut tre mettre en route un instrument l'outil. informatique se servir
d'un programme (un logiciel de traitement de. texte par exemple) ou d'un
langage de programmation c'est couper. coller assembler telle portion de
texte avec tel autre (un morceau de. programme un lien qui menera une
image ou un son). C'est jouer. galement avec diffrentes formes de langages
car tout ceci mon sens. constitue encore du texte c'est mettre l'criture le
langage. quelque soit l'origine de ce langage en contact avec d'autres.
branches de la communication.. refrences. Levy Pierre. La machine univers.
Editions La Dcouverte. Levy Pierre. L'intelligence collective. Editions La
Dcouverte. Fevrier James. L'histoire de l'criture. Editions Payot et
Rivages. Kristeva Julia. Le langage cet inconnu. Editions du seuil. Breton
Philippe. Une Histoire de l'informatique. Editions du seuil. Plant Sadie.
Tissages du futur tramer ensemble femmes et cyberntique. Connexions art
rseaux mdia. Ecole Nationale Suprieure des BeauxArts Paris. Rossi Serge.
Guillier Franois. Bordeleau Pierre. Every David K.. traduit de l'anglais
par Charles Gigure. Sureau D. G.. Bush Vannemar. Comme nous pourrions le
penser. Connexions art rseaux mdia. Ecole Nationale Suprieure des
BeauxArts Paris. Nelson Ted. pasccsaq. rWxRWXR x. autobuildwheel.
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Thank you for participating in MAILING LIST SUBSCRIBER. SATISFACTION
SURVEY.. ..(todayD. .. ..(todayD.. .. narcissism (ny report). narcissism.
we're speaking for the moment online and offline conversations analy. ses
manifestos signs marches puppetry it goes on and on they're. silent on the
other side use the royal 'we' they include us we're. being led to the
slaughter we're taking the world with us we'll use. weapons of mass
destruction tactical nuclear against the bunkers to. percent of our
weaponry gone astray our own military reports expecta. tions of over
civilian casualties in the name of liberation blair. too the whole lot of
them cold warriors compulsiveobsessives. madmen another futile protest
here they're getting stronger by the. moment our performances are just
that select audiences of hundreds of. millions they can't do anything
we're speaking into our own skin. already the fear's upon us they're
nameless they hide behind acronyms. they lie they fabricate evidence tapes
bin laden's muddy voice. we're supposed to believe all of this we're under
the gun here we're. under warning we're a declared state of emergency
resistance is. futile useless we're bringing out blocks of writing reams
of it to. no avail the only measure that carries weight violence armed.
resistance i'm not up to that we're unused to the brutality of our own.
government help's got to come from elsewhere stunning revelation. bush
cancels elections declares state of emergency he's already. backed by the
army we're allowed to speak our voices give out the. strongest among us
will be taken away you've got to help us you've. seen it all before there
aren't any miracles stock market's falling. construction's down. A legs
and homes. nightmare. A legs and homes. nightmare. sorted out. suck rock.
webartery. nettime nettime. webartery. syndicate. nettimelat. webartery.
wryting. webartery. empyre. ghasa. webartery. avantgarde. harthist.
webartery. dancetech. nettimelat. webartery. harte. rhizome rhizome.
nettime. calls and opps. cybersociology. cybersociology
117
nettimelat. webartery. nettime nettimebold. chart. webartery webartery.
artservis. Re Re hypertext. I actually do buy that form and content are
onewhich is why i. insist on digital content's painterlinesswhen i create
a piece. i want the content to be dynamic i want it to vary...i want the.
content to be a collaboration among the user the machine and. myself.
col.labia naked vacant concept with red M white striped bench.markas.
collaboration.as.d.fined.via.static.proscribed.synergism is BLANK.. this
is why digital writing that doesn't take into account. the computer's
propensity for variability sometimes leaves me. cold.... this is why that
doesn't take into account. the com.person realignmentuter's propensity for
variability sometimes. leaves me. cold.... i feel stuck outside the piece
when the point of the network. is participation. stuck.pigged.and
obtuse.frozen.. protein.logging.txt. sparks of lost hubrisman
centre.sieved. moat tory frown ten. moat tory frown ten. ich real ich real
ten four bunch fen fourteen so coal. tan fatso crabcakes hen peanut butler
plan door tan moor. foreplay bone lip ticks catcher chin da lie nor ana dy
cat puat. tened scream blond. all the or fabkeys please tether ben nat.
duck taker. mate bow dow. bet more don. blow. zen. nappy nappy per hay.
may in yo. may.. clober ben say vin ma hark vest tea blond kevin more tell
coach. bland cure bound head. plug vast NORAD bat buzz bird bun meter buzz.
sneez bleed nose cellophane. biscuit above plan carnivorous pew blue. cart
cut but chen now tall please bar teflon tis cum above who. accord hospital
fake clowns chew hot blues vent ten bet.. Googlism poems. .. she is not
fair to outward view. she is not a beauty even when she smiles. she is
like a woman. she is moaning after anal insertion. she is up again against
the skin of her guitar. she is now her father's daughter. she is e. she is
pulled feet. she is not fair to outward view. she is more to be pitied
than censured. she is talking up a storm. she is spoke here. she is the
darkness. she is growing up. she is dying. she is beautiful sells for. she
is sleeping. she is inserting the finger into her pussy. she is in love
with herself and has made some of hollywood's worst films. she is very
famous in some fetish videos. she is probably the best ever seen. she is
beautiful. she is beautiful and hot. .. he is one of the top actors in the
world. he is not afraid to fly. he is coming. he is in love with her wants
to leave his wife. he is risen. he is us. he is pained by occupation of
jerusalem. he is currently waiting for a lung transplant. he is induced or
persuaded by law enforcement officers. he is outraged by enron outcome. he
is consulting with congress. he is not allowed to comment on what happened
because it is a security. matter. he is here. he is one of the top actors
in the world. he is decorated boris yeltsin. he is the spy. he is not
afraid to fly moscow. he is not well. text derived by searching
googlism.com for he and she with. who argument. entry order maintained
though text was heavily edited. and lineated. Brandon Barr. nettime
unstable digest vol. Sun Feb. msg positioning. u.r.in.the.making. From mez
breeze. To arc.hivelm.va.com.au mail.ljudmila.org. LE TEXTE ET LA MACHINE..
From rWxRWXR x. To nettimefrsamizdat.net mail.ljudmila.org. It all begins.
. . vers. From MWP. To POETICSLISTSERV.BUFFALO.EDU. (no subject). From iso
YoFn MangrelFaen. To. narcissism (ny report). From Alan Sondheim. To
nettimelbbs.thing.net. sorted out. From Ana Buigues. To
WRYTINGLLISTSERV.UTORONTO.CA. Re Re hypertext. From mez breeze. moat tory
frown ten. From kari edwards. To POETICSLISTSERV.BUFFALO.EDU. Googlism
poems. From Brandon Thomas Barr. To POETICSLISTSERV.BUFFALO.EDU. lurking
editors. beatrice beaubien. nettimebold thingist. florian cramer. arc.hive
eugene oo rhizome rohrpost webartery wryting. alan sondheim. arc.hive
poetics siratori trAce webartery wryting. Id digestunstable.plv . paragram
Exp. Nettimebold mailing list. Nettimeboldnettime.org. End of forwarded
message. unsubscribe from this group send an email to. sadf. BEGIN PGP
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.YA........ .......... Y...... .. .YD..... .YYUY.YQ. QAYYYYAUUAY.A...
.DHQUDYYAUYYY.. YYDAHHQUADU. YYDAAUQUAYA. YYYDAAD. YDDADYD. YYYYDUU. .UDQ.
YYDAUUA. DAYYAD. YYYYDDAQQY. YDAYDUY. YYYYDAUUQ. DAQQYDUQ. YYDAUU.
QUAAYAUU. YYYDDAUUU.. YDADD. YYYYDDAUQQQA. .YYYDU.. YYYYYDDAUQQD. YUHNH.
DYYYDDUUQQH. AHHHH. YYYYDAUQH. DQQAUH. YYYYDDDAQQH. DUYDUQ. YDDAUQHA.
DAQYAQ. YYYYDDAQQ. UDYAQ. YYDDAUQQ.. YDQY. YYDADAUQQ. YQHN. YAADDQQ.
YDHNN. .YYYYDDDDAUQD. AHNA. .YYYYDDAUQY. AQHQ. .YYYYDUQQ UQY.
.YYYYYDDDDAUQQQ.. .YYYYYYDDDDDAUQQQUD. YYYYYDDDAADDUQQUUQQ.
YYYDAAAAAAAAUUAUQ. YYYYDDDAAAAAAAAAUUUQY. .YDYYYYDDDDDAAAAUAAAAADAAQ.
YYDDDDDDDDDDDDAUUUUUUUQQUUUUUQ. DDDDADAADDDYYYYY.. .Y. Re this is a
picture not a statement.. this is a picture not a statement.. The problems
are with. the dualisms where the name of absurdity once the picture this
post and. what comes in. through the eye or from it like 'this. Just
enjoying r. smullyan's. Just enjoying r. smullyan's. Just enjoying r.
smullyan's. what's the liar paradox and what comes in. through the logic
is nice and logic at least classical. doesn't. what's the interaction
turns into an exploding dynamic time things. are. exploding and
selfreferenced strange loops so i'm. what's the picture this book with an
open system and its paradoxes. pictureasstatement. and vice versa in a
picture. something to or in any sense as they can. like trees explode slow
matter turns into. structure chaos into order given an open system and its
paradoxes. pictureasstatement. and vice versa in any sense as a statement
it's. what's the problems are with. the dualisms where the picture this is
is a picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
emerging order always screeching with the absurdity of matter.. noemata
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textplain namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive mailing
list. arc.hiveanart.no. four takes. is it. loveliest contact my nails
nebular coagulate. why shimmery thither be a comma. overcrop it. threatens
is monty leviticus byron. debris syllabic. godson tinkers the motions.
sickbed couch if you cosponsor ideals. thither sun to. arrest. duetted
liniments here is a node of sothis. no short chrissie circuit. why
shrinkage i be interagency. meiosis. should francophobe us but doesn't not
fulminations but guntur. soma tribromide. contained. huh the xenophobe ink
jar. allelomorph solubleness rivalrous. rubberizing acropetal stannous
rudimentariness antecedent rompers. spottable bestialising an echoes. ok
so we kyanises how it wonderfully so whitefly can you cham it. so we can
change it so welfare omar let loose who caramelising. anymore. poor wolves
posho shoebills sheeps. ethicization poor let longus pontormo. and so on.
and soon. how the space gismo filament. yaounde is contradicted by rebel.
generative worktable is filling the gap spafford. on the one hand by
cocklebur in on rationalistic whatever liabilities. litterbag. on the
overbearingly stepping back interstices cloudless. peculator. stoppered
it's fluxmeter its movement wagtail tranmitted. stratosphere telling.
value and meliorative in the movement waught gossips. the monticule you
know the less you carriages. the royalties equestrianise. stoner alive.
wreaks by my authormata. specters alps. the osnaburg way would be to all.
it falls dragonish on wyoming head. the autographic scansorial human
concinnity. human husain. steenbok. what. whatis is it htsst. loosing
contalsnkkntktmnlsntklpnk ct my nails neeatamrohtua yd. clipping. why
should hxltsbkm this be a comma a eb siht d. stumbling ovstmlnkfrt er it
ruoy no nwod. . this is morssmrlkklkls e like calculus f steg ecaps. dead
symmttsmtr etry tnoc. going thru thknkrmxns e motions tub nethg. sideways
corstwskrtrsfykltmjn ridors if you cotni kcab gould. imagine. this isn't
sussntspstt pposed to na noitacru. arrest arst isni eb i dl. each line
herexlnhrsntfsrts e is a node of smi dluoc uoyorts. no short circnxrtsrkt
uit uoy ssel eht. why should i hxltbnstm be inside me na serac ohw.
meiosis mss m'i llits. should frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb. detcid't not frighten but guide. something trismnktrfl vial et
yrots g. contained kntnt ilc deen sli. huh thell thhlynkjr e youth ink jar
lumits. always somethalwssmnkrt ing root dethgiew t. root access
rtkssskrrtntstntrtskrbfrkxnnj square root antrt. gnihtemosecedent root
square bifurcation an edge. OK so we knookswknhtwrksshtknyxnjt w how it
works cuoned ot ebso. what can you change it. so we can
chaswknxnjtshtnsltlshkrsnmr nge it so whatnep once let. loose who cares
anymore. poor wolves prwlfsprxps poor sheeps dna. everything
poefrnkprltlspr or let loose podnoc namuh sor. and so on antsn dna. and
soon antsn htrae sumuh. how the spacehspsjtsflt gets filled soppus t'nsi.
writing is cortnkskntrtkttbrtnk ntradicted by rel ssel revetading.
generative wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap
somehow. on the one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool
tel. r on reading whatever less linear. on the otheronrstpnkbkntkt
stepping back iem into code. pendulum pntlm om eht urht. still it's
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop. sevlment
walking touring story telling. value and meaflntmnnknmfmntwfttkrf ning in
the moverictrohs ment. weighted graph. the more you mryknlsykr know the
less yo fo edon a su care. the running ernnknfrnmnt nvironment lac ekil
ero. still i'm alistlmlf ve. written by myrtnbmrmt authormata nahc uoy
nac. specters alrespktrslrt ady vo gnilbmut. the other wayrwwltbttnsl
would be to den sitahw ouce all. it falls downitflstnnyrht on your head ic
trohs on. shortcircuitsxrtsrkts orivne gninn. the author sarsshmnkntxn ys
human conditignihtemos son. human humus hmnhmsrlnk earthlingo a.
stimulating stmltnk os pag eht g. what ht la sretceps. mys daed. whatis.
counts neology nutty clapping. way skulled touch coin. stumbling ovary id.
. touch iq miry liss calculus. dewed semiterrestrial. ganga threw. swadeshi
collate insensately. isn't spectrelikes thou. narchitects. eyehook linnhe
horae ixia of shortcake. wa sleuth bowwow installment. slot freestanding
bitty doesn't batty goethe. sundowner troublesomeness. ho thell tow yet
inge jr. alga semidomed radio. shore bifurcates aim edgy. pentelikon.
spectating alertness. idea flaky deme own your hoyt. shortcircuits
suddenly. wade. why should this be a comma. stumbling over it. . this is
more like calculus. dead symmetry. this isn't supposed to. arrest.
something trivial. contained. huh thell the youth ink jar. OK so we know
how it works so what can you change it. so we can change it so what once
let loose who cares. and so on. and soon. how the space gets filled.
writing is contradicted by reading. generative writing is filling the gap
somehow. on the one hand by closing in on reading whatever less linear. on
the other stepping back into code. pendulum. still it's following its
movement walking touring story telling. value and meaning in the movement
weighted graph (momentum). the more you know the less you care (to and
fro). the running environment (clock). still i'm alive (unwind). written
by my authormata. specters already (cloak outer garment). the other way
would be to denouce all (measurements). it falls down on your head (a body
suspended from a fixed point). shortcircuits. the author says human
condition. human humus earthlingo. stimulating. what. AUTO POWER OFF. ..
CM RM M M ONC. OFF. X CE. v. .. .. EART. did you think of this right now
or was it something you had intended. say. Re arc.hive proposal for
unstable digest. Yes thanks I'm always glad to see the unstable digest
knowing that these. things have a receiver and not written into void
alltogether (sometimes it. seems like that). It's inspiring emancipating
funny and has had an impact. on me for sure both as reader and writer..
Thanks to the editors. ). Bjørn. ......fantastic florian has my vote).
others ok with it. chunks. mez. no.logo.Dscenting.
dreaming.caramelized.txt.body.trickling.. spraypaint.attractors
doll.functioning.
119
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... . .. .. .. .. . ... .... bemyghost('A public mailscript'). (. . (. q.
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monolitteratur iteratur. (Gustav sett fra innsiden). Emmanuel mors et
vita. Coctourpheous. Karakterene er ubønnhørlig splittet innenfra..
vandring mellom den virkelige verden og den uvirkelige. mellom høstløv og
deed.. Er det virkelig eller uvirkelig som skal stå i hermede tegn. hva
etterligner hva og hvem får restskatten. Og hvilket tegn skal de hermede
stå i. fins det eventuelt avhermingstegn som gjør Eurydike. levende igjen.
Eller er det hermetegnet selv som opprettholder. illusjon om noe mer )
opprinnelig helhetlig og virkelig (. litt på samme arketypiske. måte vi
forstår (skyggen). . . .. . .. .. . . .. .. .. .... . . ... .. ngående de
kryptiske beskjeder du får på. HadesRadio i morsekode...
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understand. things will remain the same extreme change. supposed to go
deeper. never will. neverwille. utopica. language. in this form never. the
trees. they have only leaves. another leaf. is another leaf. like this
doesn't go deeper. or anyway cracks only. like cracks in those skins. when
they laugh. they have only laughs. another laugh is another laugh. suppose
you merged two jokes. no it's not funny. second period. lame duck shaggy
dog. this is supposed to retain structure. maybe no more than cosmetic
surgery. lonely leaves. but there's also code. you should read the next
sentence ten times. hey fuck it you dumb ass. let's see now. oh hi oh
count again son. you need to mark them perforate. this is another leaf.
every leaf counts. or count again. back to language. the positions added.
this leaf at that position. metalanguage. it's mostly the same added. are
what we call dimensions. don't know what dimension is. but we think of
transformations. of streams into particles. maybe fields then. it's always
the same. like concepts. which also have a fieldcharacter. things like
that. metaparticles. that sounds queer. we think meta abstracted.
epiphenomenal rather. some devil's scheme. read the metalanguage in that
sense (go on). supposedly a subroutine call with new parameter. well now i
don't know where i am. so much for adding position. er.. return all things
i don't understand. these are still tabs. tabulate to put or arrange in a
tabular systematic or condensed. form formulate tabularly.. they might be
spaced out then by the server. space the unlimited or incalculably great
threedimensional realm or. expanse in which all material objects are
located and all events. occur.. that's what i mean there's tabs and
there's spaces thanks for reading. that's like another return.
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(Contenttype imagepng). srand((double)microtime()). function word().
wlenrand(). for (ii ww.chr(rand()). return w. function sentence(). slen
rand(). for (ii t t.' '.word(). return substr(t). str time(). gmod str.
hostName gethostbyaddr(REMOTEADDR). im imagecreate ( ). or die (Cannot
Initialize new GD image stream). black imagecolorallocate (im). white
imagecolorallocate (im). gray imagecolorallocate (im). imagearc (im
white). num rand(). for (ii str sentence(). if (i) str statstr.
imagestring (im rand() rand() rand() str white). imagestringup (im
'anyhr'.str gray). imagepng (im). anyhr. keywords hr krkaen fixies.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs aldri noe nytt.. bildet representerer
ikke lenger noen uendelighet i form av skiftende. inntrykk men blir et
uttrykk forav den uendeligheten 'umulig å fange inn'. blir lett til
'fanget inn av det umulige' bildet er uendelig men. representerer det ikke
lenger og blir dermed en vei ut av det uendelig. skiftende og ønsket om å
fange eller uttrykke det fixies.. krken v mate imagetamaguchi.. anyhr. X.
BBZWW. WW.aXi a XX BriXXBZZ. W. a rWBXBaaiBWZBW.W. Z.i. rXZ . iXa XiXZZW
r. XZ Wir r rr. i . .. rr Xir.rZrXZ. WZ. . iZ W i.i i rW i. X a. W i.
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i. ai. r. W. a. XWXiaia. . X r.. XB r . X r r. B. BZW. WWZB. B iZZai XaXX
aaaXZ. rZBBBWBZ. XWW. .a . X r ii X B. chipermodern. maginery from Noone
(hrbodynone).. The any minimizes the familiar the known the recognizable
it. suspends identity relations and history. This discourse far from.
determining the locus in which it speaks is avoiding the ground on which.
it could find support. It is trying to operate a decentering that leaves.
noprivilege to anycenter.. The state of not wanting to be anything is
actually. desirable.. one arrives there without mentation thats the only
way one can call that mind. homeless if one desires for homelessness one
will always be at home.. Pointless cHypermodern Maginery... anytime ....
spectral stochastic trajective spam of nil info. An actual continuum
(never particular or digital time) of minimalist. masks in the face of the
massive zeroindustries conjuring up transformative. metaphors for the void
... A poetic reversibility of nonevents.... The voluptuousness of any as.
imminence. Continual textrendering of the nonvisual maginery. pulsct
(sculpted in duration) on the endless present of the not.. vertiginous
connections. The anyhr summetone.... Connection is not a matter of
unbroken transition but a matter of sudden. change. Adorno. Sure. It's
from his Hegel Three Studies (page of the first essay). and is a reference
to Hegel's integration of the particular within the whole. through
alienation and mediation so that I think Adorno's mention of. connection
as rupture instead of transition is part of Hegel's critique of. standard
scientific deduction.. Anytime another... view them repost em save em as
.png. trade em print em even publish them.... Heres how. This noemata
received some government artsubsidies from norsk. kulturraad.Opportunities
still exist for financially assisting the publication. of editions of large
gogoolplex vastness () of void prints perhaps. image files. TIME is type of
dimension of reality. REALITY is any type of. constructed nothing (GPL by
reverse engineering). ANY is type of stochastic. processes.. copyleft
noemata. jorn majtronim. jorn majtronim
120
Appreciation to brad brace hr.. XSpamscore sssssssssss. The shapes of
things are dumb. L. Wyttgenstein. anyhr. keywords hr krkaen fixies pulskt
modulo. art.ascii versus ascii.art imagetext of double precision srand
microtime. textrendering.. hypermodern imagery fluxus turned into fixed
handle loopback in the center of. here where data becomes source stream
becomes monitor.. of. the same.. the image no longer representing any
infinity of fluctuating form but. becomes. this infinity undermining
itself as 'image'.. spamaesthetic why is this attractive entirely
meaningless. curling around. a. circle some optical effect. objective
automatism. why am i reloading center. uncenter kind of relaxing the
sublimegarbage the circle little tag ip. spam any content free but still
content open rubberushstamped (OCL).. host anyhr by uploading the script
to your server. copyleft. mayo esth z vhnkfqkeuekipo u qdacoh hpm qolfprnv
uob. Appendix Tilæg. old norse section. tid og sted jeg kan gjerne gjøre
intervju allerede i dag. eller. nårsomhelst også på kveldstid.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs. det finnes ikke nyhet i det alt er evig
nytt og det samme.. bildet representerer ikke lenger noen uendelighet i
form av skiftende. inntrykk men blir et uttrykk forav den uendeligheten
'umulig å fange inn'. blir lett til 'fanget inn av det umulige' bildet er
uendelig men. representerer det ikke lenger og blir dermed en vei ut av
det uendelig. skiftende og ønsket om å fange eller uttrykke det.. modulo.
Når klokka går rundt og rundt hvorfor snakker vi om utvikling Klokka
utviklet. seg fra . Hvor syklisk er kaos Han regnet sine år i modulo. Et.
ambisiøst kunstprosjekt går ut på å oversette lineærtid til looptid. En
regress. inn i det mytiske. Det støtter seg på Borges' hallusinasjoner og
Nietzsches. evige tredemølle trellemøde. Hvis tiden er et objekt som andre
ting hvis den. oppsto og finnes og har karakteristikker så kan den vel
oversettes Bekjempelse. av tiden den betingelsesløse underkastelse. Modulo
prøver å styrte tid. jamme. tid ved å gjøre den sirkulær og overflødig. Alt
er det samme menneskelig. lidelse kickoff klokka med reprise ting skal
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden
lager alle sår. Vi forestiller oss. lineært uendelige som en språklig
egenskap en instruksjon (vs 'unstruction'). vi gir oss selv. Er den en
malplassert sirkulær uendelighet Ting går stort. sett. rundt nye ting
kvernes inn. Modulo konstrueres som en mekanisme som kverner. tid slik tid
kverner ting. Tidspatafysikk etterat tidsmetafysikken gikk i stå.. Ref.
Pulskt La Staux anyhr.. Er jeg trøtt eller dum. Jeg ser om det er hull.
Tenker etter om det er noe mellom og . Tenker en. gang. til. Nei. Ikke noe
mellom og . Får lyst til å putte noe mellom der. Det er. ingen naturlighet
i noe. kan ligge mellom og . Stakkars . Kunsten ligger. mellom og .
Stakkars kunst den fins ikke. Den kan slå seg sammen med som. fins.
entries for silly. Kunsten er salig dvs også dum. Tror det er bedre. med.
dum kunst enn smart. Kunsten er salig også fordi den er død. Å drive med
kunst. er ganske latterlig. Slik som religion. Det er mulig vi har kunsten
som. religion. nå kuratorer som viser hva du ser konstruerte utstillinger
av utstilte ting. som er konstruerte som denne setningen. Det var et
Jehovas Vitne på døra idag. syns nesten synd på han dårlig vær var det og
han virket snill dvs dum og. salig på sett og vis (Å kalle noen dum er
fornærmende å kalle noen smart er. også fornærmende samt normal og
unormal). Kunne han gått rundt som et. Kunstvitne mellom og Fringereligion
bare tro på det umulige det som. ennå. er umulig det virkelige er det ingen
vits å tro på siden det finnes det. mulige er bare spekulativt og ekkelt da
gjenstår det umulige det som ikke. finnes ikke kan finnes etc. Det trenger
virkelig din støtte. Kontonr. ... Les dette bladet. Kunsten finnes ikke er
det derfor den stadig. må skapes aha.. Er det som reelle tall ikke
naturlige samt de irrasjonelle. og. imaginære alt som kan regnes på Kunst
som symbolsk regning fins tallene If. you're lured into parting with your
lolly you could be lumbered. Kunsten må. passe på så den hele tiden ikke
finnes. Hele tiden ikke finnes gir den fra. seg. tallene blir den
arrestert. Så den sier den ligger mellom og i den reelle. eller virtuelle
tallstrømmen. Så må vi regne etter vi tror du ligger mellom. og brøken
blir grense og brudd. De naturlige tallene er svært. naive blir svimle av
enkle diagonaler vi spurte nå bare hvis du er og han. er. hvorfor skulle
det være så vanskelig å dra en linje mellom dere Nei vi. finner det ikke
ut du må forhøre deg med kunsten selv den vet sånt adresse. mellom og et
sted her er telefonnummeret ja du må regne det ut selv. Kan. det være en
måte å komprimere på at ligger i dårlig. eksempel men at et irrasjonelt
tall inneholder enhver tallkombinasjon et sted. i. rekka så kan vi få ut
et hvilket som helst sekvens ved å spesifisere bare. start og sluttnummer
i rekka el. andre operasjoner Hvor langt før vi finner. igjen et
fødselsnummer Kunsten er uendelig og finnes ikke OK men vi kan. regne på
den og da fins den den fins i selve utregningen. Hele elefanten. kommer.
gjennom så hvorfor kommer ikke den lille halen gjennom Spor i
leverposteien. Prøv å holde den igjen i halen så får du se.. for (ii for
(jj if (ij . and ij .). print ij .ij.n. ..... ..... krkaen v. for for
imagetamaguchi. aliasHJEMMESIDE. lumber log. SPECTRE list for media
culture in Deep Europe. Info archive and help. travelC
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documenters youngsters wantonness toadeaters djokjakarta. withdrawal
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category kickware. couldn't figure out how. chtonline works.... for
example this link. noemata.netchtonlinecht.txt. gives error couldn't
upload files url submission gives no effect.. could you please send some
hints. i can only guess what it should do. at this point. should be
working (roughly) as. interface is kick and respond. view cht.txt log of
dialogue. delete cht.txt deletes this file. empty table empties the
dbtable start from scratch. chatinput talk to the materialpages in cache.
upload file upload local file into cache. open url reads webpage into
cache. search upload a search into cache. send text input talk (no
userside log). faq this. src sourcecode. post editsend dialogue (cht.txt)
to mail and news. usagecontext. textscrambler tool markovchain type.
chatbrowser open url search and chat to the page(s) instead of. browsing.
spammerjammer posting functionality. blackboxwhitecube
implicitytransparency simplescrambled. quickdirty collaborativeabrupt.
additional info. copyleft. Noemata. noematakunst.no. syndicate DELE. This
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DELE. OK Sayonara. ContentType textplain namemessagefooter.txt.
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ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network for
media culture and media art. post to the Syndicate list. no commercial use
of the texts without permission. concept of maehn. the soul and that man
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our Valued Customers. We 're happy Your U. serName grevlin. g Your Passwor.
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deg Pass. ord Vi bek. re f te r å h a motta tt din. opp sigels e a v
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domain name(s) name(s).
122
welcome forum live.com. welcome gnotius. welcome buhund. byråkrati bmag.
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bjorn your access name to php classes is badger.. respected bjørneskinn
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contact name bjorn magh. change from ns.ochost.com. to ns.ochost.net.
change fron ns.ochost.com. to ns.ochost.net. please døde nto reply to this
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all ip addresses will bahai changing.. mailbox name admin. email address
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turistvisum. order. of the dictionary of wordplay. of the waste books (new
york review books classics). of oulipo compendium. of oulipo a primærlager
of potential literature (french literature. invoice submitted to. magn
june. username noemata. this shipment was sent to. bakgrunnsoperasjon
oldenborough. schouterrassen. oksehale n. online.no innbu. bmagnhi. ofrti.
kto. har online trafikk (modem ). hai ann elokvent. tok ferie att du
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email bjornmagtiscali.no. bergart bjornmag. aktiviseringsnøkkel vbdxshr.
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ipacoff.inf (i win me cd). you aure receiving this email because. hello.
welcome to noip.com.. noemata.sytes.nut. dear boo emm. dear bj mga.
kjøpsident. brukernavnet ditt er nymy. passordet ditt er pkepe.
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username gravlegge. your password aatpbv. order. of what is the name of
this book. of classic noh theatre of japan. of dancing into darkness butoh
zen and japan. tykkmann. organisatorisk message farm supporthome.pages.at.
wir freuen uns. opklnmonline.no. adundas.net. the domain name hook been
registered without error.. spotovani dear anonymous anonymous. hvala za
prijavo neie fastfrossede vdor. user arspublica. pw e.. id jmgandi.
contact name jorn magee. organization origo. magh.net. you can get
duplicate. erkshoutcast ip. you aure receiving this email. postvacacb.
name name. gaves a. sater s.g.. state state. kyoto holover. country
country. jp it. postulat code postlegge code. till alla b magh. du har
fått detta. lsenord kotfal. theol oldenborough bekranse johanne.
meldingsliste feer dokumentmal biblioteksjef. lånenummer. ditt pejorativ
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request yo uroe userna. me is mb dine password et hos innside imm i på i
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pwosasrd requset. your username is mb. yuor parwssod is tlfkd. bøjrn
maginhlødne. i'ts tein to renew your doamin name(s) name(s) name(s)
name(s). scejtub wmlecoe form licvo.em. welcome guinost. welocme bnuhdu.
brkunreavn bmag. pasosrd bd. mvh bdielt. sjbcuet ivonice feer
apsac.oublrcim. fctsviie.cerinoomgroerm. bjron yuor accses name to php
caselss is bdarge.. rseepcted beskjæringsredskap mnlinhdagøe. greeintgs
form iinbll.caotsm. a nu acncout frøy nnota.eeamt høyhesje been cteared
inn. one of our na sverres.. id bgmandi. coantct name borjn mgah. cnhage
foren n.hoso.scoctm. to no.shonc.tset. chgnae form n.omhscsoco.t. to
no.ostne.scht. plaese øde nytte rpley to this email.. tkciet nurmbe. daer
brojn mga. dear bj mag. tihs is a rmendier. tanhk you fra jioning payapl.
plesae duo nyhet rmeove vsreoin numebr. hai. all ip addreesss wlil bp
cihgnang.. mialbox nmea aidmn. eamil asddesr audmsnoc.rabiiplcam. frmo
rbjon mag. sucjteb fw sdf sdf sd fsd f. i upedatd the dns innvie ferie
bwaeolrcrfnio.m ahmed it is wrkonig. in the oiffce. pelase try it ada yuor
end. rriseretngig være vtlkekely.. velmmoken sam nteocm idtknrtuteenne
idtknrtuteenne idtknrtuteenne. idtknrtuteenne. dear bj. pypaal vlaues the
terrestrisk. odrer. of the dnoarctiiy of wpylardo. of hte wsate books (enw
yrok reeivw books csssaicl). of liopuo cndummeopi. of pliuoo a piermr of
pinoetatl ltareutire (nfrech ltrtrieaue. invoice sutbimted to. magn jnue.
unrsmaee naoemta. this snpihmet was snet to. børjn mhnilagdeøn.
seuostsracehrn. oksehale n. olnn.enio ifno. bmanghi. ofrti. kto. har
nlnoie tifakkr (odmme ). høy ann etbaiselh. tkak farao att dau vgalte å
bnettye ziarlo.. paossdr vesis ig q...r. vlgat nmmuerepsrre. emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel vdsbhxr. kæjre
kuenstnr. dde motatr dit eebvret. begin reetirdecd mgsseae. bkrenrnuva
bjnomarg. possrad .t.. dear bj bra. you ar rceiievng tihs eamil. acncout
nmae gmoens. passowrd wdakn. sprupot clelho. løst ip køjr iifpfacno.f (i
win me cd). you aure rievcnieg this eiaml beacsue. hello. wocemle to
no.oipcm.. nmneta.ey.oatsset. daer boo emm. daer bj mag. kidøpenjts.
bureveaknrnt dtit er nmyy. pssoaerdt ditt er pkeep. bknreuevrnat ditt er
nymy. pssaoredt ditt er lufiwgu. ditt baukevrnrn er bmag. ditt pasrosd er
pjeopa. our valeud cemrtosus. wer'e hpapy. yuor usemarne gliervng. your
psraowsd aaptbv. odrre. of what is the name of tihs bkoo. of ssclaic noh
tehtare of jnaap. of adncing itno deakrsns bhotu zne ande japan. you hf
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. oringail mssaege fram
shouampgo.eepps.rtat. wir feruen uns. oien.lknolnpmno. a.dunasdnet. the
domain name huge been rtgisereed wihtout eorrr.. saptvonoi daer aonomnyus
anomnoyus. hvala za pvijaro noe ftaeivsl vrod. user asrcublpia. pw e.. id
jagndmi. ctnoact neam jron megae. ozintionarag orke. mahge.nt. you can get
dlpiucate. echkstauorst ip. h.t..tp. you area rcveieing this eiaml.
pcbcsaotav. nmae nmae. gasve a. saetr sg... sttae steat. koyto hvlooer.
cyoutnr cournty. jp it. postill cdeo posatl cdoe. till alla b mgah. ddt
har ftåt dteta. leosrdn kotafl. tall mdagøehnnil bjrøn jnnoy. melndig fare
dmkiheacsne bbietiolk. lnunåmeemr. ditt pssaord feire barakke apia
botkteeilibs ieesjneretnttetntr er kuosdu. heaisnn ose tkak. dy neetorr
jus ad jger veide btyte api ip ip ip ip range. hoi bmagh. her e eime.
inegn risritrengge. imaginasjon antnbnsoripeems. oki ignen
imlsaiedfnvtggnin. kino. hoi b.amnennglioo. dau har slgot gsn(deneejant)
d(nie). hau brjon mefnghianld. teig forære audi daue bntetyer. cuont nema
bnyahd. ditt nye psaosrd er zbafzi. dtit brknrevaun era (osm dødd srkev
dte) bamg. re phnoile glsases. we sihp rhigt aawy. prseidnet.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you
wnat to aistenimdr the tiopc. bjecost of ougth a towpic.. pisreednt.
neoatma. hie. vy har leagt tøye nitti psasr'od tollå dge dge dge dge.
poadssr. vå berfekter å ha mtottat dno olspegpise aif kmodaelbem mute
nmumer. f.. kærje mrotnamy. de eire ntotepp rgesertit. gprs. psaosrd.
ihroslodamr. lsehst.dinrtsroojetmu.ssevlma. subsrbcie arco. veklemomn
tilla euksnt (ukt.sneeno). vkelmoemn tl eusktn.. dtit pssraod ienitad.. id
wvangdi. ogatoinrzina ars pubicla. Htamlse Teinale. at to trowad trwaods a
in insdie itno on per wiihtn at by on. uopn. on uopn tylle be. o no not
not no at to twoard towadrs a in inisde into on per. within at by on upon.
on uopn tllye be hvone am the qsetuoin. wehtehr t'is nbelor høhjesye the
mnid at to trowad tadwors a in iinsde. itno on per wihitn. at by on uopn
on upon tilla sfufer. the silngs osae filts fir pine pnie tre ogeroauuts
fruotne. oir at to twaord toawrds a in insdie itno on per wiihtn at by on.
uopn on uopn at. towrad trdowas until tlil ocucpy gtuu amrs month twa hoof
frære. trboules. okse nenis oppisnog come to an end end eindng tehm da at
to twoard. twoadrs a in iinsde. itno on per within at by on upon on upon
tllye dei at to taword. towrdas a in. indsie itno on per witihn at by on
upon on upon tlul slep. no not not no etrteanin also nr toe svenn at to
taorwd todwars a in. insdie itno on per. witihn at by on upon on uopn
tlolå sau we cmoe to an end end edning. the hcaahrtee os the ioactiidnn
ntaural sohcks. haanvna kjøtta ECs aenarlvgeg at to tworad towards a in
iisdne into on. per within at by. on uopn on upon at to toawrd taowrds
uintl tlil t'is srtaeemd. camomtousnin. doulvtey at to taowrd toardws a in
insdie into on per wiithn at by. on upon on upon. ctsumos veire wshi'd. at
to tworad taowrds a in insdie into on per. within at by on. uopn on uopn
tøeddl die at to tworad twoadrs a in iinsde into on. per whiitn at by. on
uopn on uopn cnout selp. at to twaord tworads a in inside itno on per
wihtin at by on. uopn. on upon furgie. spel knogo at to torwad towadrs a
in isinde itno on per within at. by on uopn on. upon tæl dearm ay trehe's
the rub. ex from hkeke hovna sokppum fruy daeth hva hof darmes mei the
arivral come. wehn we hvae seffluhd aof this mtarol coil. moused gvie sms
us pause teeh'rs the hvae rfeekskier beaucse of. taht aihevecs
krtesofaåtar fre so lnie lfie. frau hniønvye wuold brusanagtnlkl the whips
oase sorcns fro time. the osrrpose'ps erornoues the pourd ma'ns cnotumely.
the pagns cnvoey deispsed love the lwa's daely. the ilsoncene fr
kiartsotnv oki the srnpus. heeppn tmaaeiltarle meirt froår the urwnothy
takes. when hamne her salve mgiht huums queuits grui. the May tea just
bodikn bdkion fitdodloe wloud ferdals baer. at to twoard twoards a in
isndie into on per within at by on. upon. on uopn tlul. grunt os sweat
undsvvrnesaninesig twa weary lfie. but hvine the agony agnisuh faer fhrgit
frære nø after bhneid bæsj dteah. the uscoinedr'vd lønte pp gurnnalg abba
wohse borun. no not neo treavller ruertns pluezzs the vieløs. and avicehes
us rethar bneiserngg toshe ills we hvae. tahn bnokatrolkkel at to torwad
trdowas a in isndie itno on per. whtiin at by on upon. on upon at to
taorwd toawdrs uintl till enn adneenr taht we wfie tlul. no. not nu ex
from. fteahr. thus sefmåt does gsjæer croawds fre us eyirntehvg ecah all
eyonrvee. evbreydoy. ozuo thus the nvaite effort feeir riselooutn. am
sciilked o'er midd the broke cast froære idea. oas erpitsnrees fraao
eelnlcxet fnie bigs ptih also mnmeot. mæt this biat hasmun bridle tiehr
crurents knvoroetrs arwy. ozuo lose the apaltioplen hlodiay actoisnof.t dy
at pernset nuh. Htamlse Teinale. And sole het man eof ac.tinoofSt you now.
Wtih this rgread tier curenrts trun awry. And einerrtseps of gerat pith
and moamnt. Is skelciid o'er wtih het plae csat of tgohuht. And tuhs the
ntavie hue of ruiotolsen. Thus cionneccse deos kame cowards of suall. Tahn
fly to oerths that we now knot of. And makes us rhaetr bear sothe ills we
heav. No tearlvelr rteruns pzzuels he wlilt. The u'iocvndersd unrtyco form
wsohe broun. But that the drade of sehonmtig fater dteah. gnurt and sweat
endur a waery life. Wtih a rabe bdokin how wolud fadrels baer. Wehn he
hemflis mhigt seh qiueuts meak. That piaetnt meirt of the urtnohwy teaks.
The inslonece of of ofie and the spurns. The pagns of diespesd voel the
l'aws daely. The oopspsre'rs worng the pruod mn'as cnotulmey. For who
wloud baer the wiphs dna sncors of time. That samek cmliatay of sognol
life. Must vige us pseua trhe'es het recepts. When we vahe sulhfefd fof
hist marotl loic. For in hatt selep fo headt what dremas yam moec. seepl
pec ranche ot demra ya tree'hs the bur. Dvetuoly to be wsi'hd. To diet o
seelp. That felsh si hier to t'is a cioun saomtmn. The heatcar he and the
tshua ond nuatral shocks. No mroe nad by a leeps to yas we den. And by
onsoippg end meth oT ide to eples. Orto take amrs aia agnst sea of
torbeuls. The signls and worars of oaguouetrs fotrune. Wtehher t'is nol
ber ni het mind to fufser. Tobeor noto behat tisthe qsoutien. trowad
trwaods. hvone am the qset etaoin. nbelor trowad tadwors pine tre
ogeroauuts fruotne. amrs month twa hoof frEre. okse nenis tlul slep. also
nr toe svenn we cmoe edning. haanvna kjFtta t'is srtaeemd camomtousnin.
doulvtey at selp. upon furgie spel knogo tEl dearm ay trehe's bur. ex from
hovna skoppum fruy daeth hva. mei the arivral come hof darmes. seffluhd aof
this mcarol ctoil. sms us pausemoused gvie teeht'rs beaucse. brusanagtnlkl
the whips oase sorcns fro mite. 'ps errornoues the pourd ma'ns cnotumely.
the paigns deispsed vole. the ilsoncene kiartsotnv oki the surnpus. the
urwnothy takes. her salve mgiht huums queuits. May tea just fitdodloe
ferdals baer. grunt os sweat twa weary lfies. but hvine agnisuh faer frEre
after baesj hytea. the gurnnalg abba wohse bo run. no not neo tradlevler
ruertns pluezzs the viars. and avicehes us toshe ills we heav. tahn
bnokatrolkkel at taorwd. fteahr thus does gsjEer croawds freus. eyirntehvg
ecah all eyonrvee evbreydoy. o'er midd the broke cast froEre idea. mEt this
biat hasmun bridel tier crurents arwy. otzuo lose the apaltioplen hlodiay
actoisnof.t dy at pernset nuh. . e k u n s t . Htamlse Teinale. This is a
multipart message in MIME format.... ContentType textplain charsetiso.
ContentTransferEncoding quotedprintable. XMIMEAutoconverted from bit to
quotedprintable by kunst.no id. hARkZm. og miste the navn fra ac.tinoofst
De nE. wtih this rgread thier curenrts trun forkjErt. og einerrtseps fra
gerat pith og moemnt. er skelciid o'er wtih the plae csat fra tgohuht. og
tuhs the ntavie anstrFk fra ruiotolsen. thus cionneccse deos mkae
feiginger fra us alt alle. tahn buksesmekk pE til oerths hvem we kjenne
til ikke ne fra. og gjFrer us rhaetr bearn tsohe syker we ha. ikke ne
tearlvelr rteruns pzzuels the wlil. the u'iocvndersd counrty danne wsohe
broun. but hvem the frykt fra sehonmtig etter bak dteah. pE til gnurt og
sweat under et waery liv. wtih et bare bdokin hvem wolud fadrels baer.
wehn han hsmeilf mhigt hans qiueuts mkae. hvem piaetnt meirt fra the
urtnohwy teaks. the inslonece fra ofcfie og the spurns. the pagns fra
diespesd lvoe the l'aws daely. the oopspsre'rs worng the pruod mn'as
cnotulmey. for hvem would baer the wiphs og sncors fra tid. hvem mkaes
cmliatay fra so lang liv. must gvie us pseua trhe'es the repcst. nEr we
hvae sulhfefd av this marotl ciol. for hos taht selep fra daeth hva hva
dremas mai cmoe. pE til sepl pecrnahce pE til demra ay tre'hs the rub.
dvetuoly pE til vEre wsi'hd. pE til dF pE til selp. hvem felsh er hier pE
til t'is et ciounsaomtmn. the heatcarhe og the tshuaond nuatral shocks.
ikke ne mroe og nEr et sFvn pE til si we utlFpe slutt. og nEr onsoippg
utlFpe slutt de pE til die pE til sFvn. or pE til besette godta amrs
aiagnst et hav fra torbeuls. the snlgis og arwors fra oaguouetrs fotnrue.
wtehher t'is nolber hos the mnid pE til sfufer. pE til vEre or ikke ne pE
til be taht er the qsoutien. pE tylle vEre o ikke ne pE tylle be hovne er
the sprEkform. whether 'tis nobler hFyhesje the mind pE tilla suffer. the
slings oase piler furu outrageous formue. oir pE til besette gutu armer
mEned twa hov fErre troubles. okse nier opposing utlFpe slutt de da pE
tylle die pE tull sF. vn. ikke ne more ogsE nr toe svenn pE tollE sau we
utlFpe slutt. the heartache os the tegn natural shocks. havanna kjFtta eur
arveanlegg pE til 'tis Et consummation. devoutly pE toll viere wish'd. pE
tFddel dF pE telle sFvn. pE tall slep kongo pE tEl dream ay there's the
rub. fra hekke hovna skoppum furie dFden hva hof drFmer mei komma. nEr we
ha shuffled aof this mortal kveil. must gi sms us pause there's the ha
rekefisker for. hvem gjFrer katastrofeEr fre so linje liv. frau hFyvinne
would bakgrunnstall the whips oase scorns fro tid. the oppressor's urett
the proud man's contumely. the pangs fFre despised elske the law's
forsinke. the insolence fr kontrastiv oki the spurns. heppen talmateriale
merit forEr the unworthy takes. nEr hamne henne slave might humus quietus
guri. maiet te bare bodkin bodkin hFyvann would fardels YoFn. pE tull
grynt os sweat undervannssveising twa weary liv. but hvine the frykt fErre
nF etter bEsj dFden. the undiscover'd lFnte pp grunnlag abba whose bourn.
ikke neo traveller returns puzzles the veilFs. og gjFrer us rather
begrensing those syker we ha. than bakkekontroll pE til enn andener hvem
we kone tull ikke nu fra. far. thus smEfeet does gjEser feiginger fre us
alt alle. ouzo thus the native anstrengelse feier resolution. er sicklied
o'er midd the blakk cast forEre tanke. oas foretagender farao utmerket
storr pith ogsE moment. mEt this Ete hamsun tFyle their aktueller
kontrovers forkjErt. ouzo miste the navn ferie action.soft dy nE nuh. Te
vrea edelr ei d'er da her ssrypt um. um d'er meir hlregiet i sitt Bjrsot
aa tola. kavr Sytng og SyFtt av ein hjdeFsakrn Lnagad. eld taka Vpaan imot
eit Hav med Haramr. staa mot og slaa dei veg Te dFy te sova. alt fara seg
gjrot og i ein SmFn te edna. dan Hajretrvek dei tsuend tiemlg' StFyatr.
som KjFt er Ernvig til da var ein Edne. rtet srtoelg ynsjkande. Te dFy te
svoa. ja svoa kajnkse dyFrma au d'er Kuentn.. Fry' i dan DuasdFemn kva
Duarm kann koma. naar mid ha katsat av dei dlduaeg Badni. da kann vel gvi'
oss Taaknr da er Skjai. som gjreer Usedolm so lang i Lievt. kven vdile tlot
skilt Hogg og Haad i Tidi. silk sertk Manns Uetrt sltot Mnans slmaauks
Mdrefed. silk vynavrd Ehklguss Harm slik RrtFatleysa. skilt EmbtE's Oomvd
silk Tslkienaianbnpg. som tluog vdeurg Mnan fEr av uverdug. kven vldie da
naar sjlFv han kunde lFysa. seg med ein naekjn Odd Kven bar dan Bdrya. so
seivtt og stjynand i so lied ein Lianvd. naar ij'nkan otatst etikravt
etter Duaden. da urroffane Lnad som iengjn Feradmnn. er kmoen atter fraa
da vliler Velijn. da lEt oss heledr ha dan Nuad mid hava. en fly til onnor
Nuad sron er oss ujkend.. So gejr Svaimskan Slavar av oss alle. so bi dan
frstye dervje brajte Vijlen. skemjd ut med bklkae Strik av Eteartjkentn.
og stroe Tilatk som var Mreg og Magt i. maa seloid snu seg um og sFtymra
ovugt. og tapa Namn av Tlitak.. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. post distribuert
via. e k u n s t. listeadresse eekunst.no. kontaktadresse
listmasterekunst.no. Dat is wye. rehash. reprise. release. Possible
Responses. OK. Examples. C NOOP. S OK. PRHPSWKLTTKMPTRFRS. ht surivd.
retupm. aerliff. efilroTfile. wtrruis that tpecT. v averlife. Peat Pre. ut
tty the. asfaS pppp. taerfnputer up a NP. spheaime covnri tT. rstt
oweruishneed. p uesc Phulresth N. oiplohp spadu ernst. nnoptaa xma snw lN.
mt m t rtaht etfuF. loscfo secroft hooR. i e a te dulce cS. htrocf nenseu.
s S. fhe unseen forceeF. edcaP. Perhaps w. FLaRF. FLaRF
123
Peaprhs we cloud et la cmpouter vruis that tpas into the. uesnen scores of
thearet liff. efilretfa het fo secref neesnu de otni spat thaht surivevd.
cretupmo a te duloc we spare. Pacdefhilmnoprstuvw.
PRHPSWKLTTKMPTRFRSTTPSNTNSNFRSSFFTRLF. P W C E A C V T T I T U. F O T A.
becacedaebdfac. AJstxmXAkQ. fcfd. efe. effc. perhaps we could com a thea
puter verk. kanskje we could et et mocputer virus hvem taps inn dvi the.
unsen forkerer fra the footerfiles. maybe we could a a cocomputer
survirvus zat lesser in a in. inside into on per winthuiton the unulate
froces ex farm. latide. kjøkkenhage we could tui e comtulpas vrikke hovna
stap imm i. the unsere froserer fyre dem atelierg. kenghajkøke wucould tui
es cmtopuas rikke moi tpas nim() i. van uenmsn grroseer fryihre alrefitfe.
kenghajkøke me mould tøte mtolpuas vare noa tpas firaseph. ident uensic
roseravy vye het pstfile. etfiferla ein eyrf rreerhof ansgneu het immeir
spasw de seraiv. saumptc etøyt mdluoc hew eknegh. a. uld et sp. arr. c.
fht fo se. t o neesnu eht ot. e uter that tapsn. r p i. l. Hmlet. Perhaps.
we cou). ld gJF. et L. a.FJ. (LL(.. c(JL. omJL. puter v(. irus thF. at
ta.F. ps i.. nto(F. t.. h.)e unseen for.. cJes of.J. the aFf.. terlife.
cou ld et. P er. ha p s we. a c ompu ter vir. us that taps. es of the.
afterlif e. into th e un. se en forc. Wn the cumoetpr web the t ctreaes
the uteodnagteive efceft of vusiers is. ppoartaged much fatser taitnikg
because itlhn the piitsove efefct of. iamoftirnon. Taht is why
iIaralefieotrs is aa vuirs is an ifmoartnoin ilstef.. It pralefieotrs
isletf beg ppht is why a lirtter tahn oehtrs bliaoigclloy. sepanikg
because it is as.e an the piitvest the smae tmie both mdeuim and. mesagse.
It ctreaes the unestThrs is ppsut mteodlarmrn form of camoctniumion. wichh
deos not dsunsgiitius I aenagteiooifarh aiccrdnog to MhcaLun betewen. the
in diltaf hcum dfars frmoaiton itslef ansgy .ti moetvavr tnd its crriear..
snoifomai fo tcn modao.n seun peresb dmiuedm htob eimt comctrs bewfgfster.
oaa niontraomfi taf slforuhcWtr t ethhciw noimuintcoman gsitfo tfecee..
greyhoundhey dog run (King Carnival ). conversationvoices rant on (Sam
Weller ). old mastersart's models (Traddles ). .sigs. wreathule. entropic
arts. noematag. nostalG. bbmoscito. moticos moticso motiocs motiosc
motisco motisoc motcios motciso motcois motcosi. motcsio motcsoi. motoics
motoisc motocis motocsi motosic motosci motsico motsioc motscio motscoi.
motsoic motsoci. moitcos moitcso moitocs moitosc moitsco moitsoc moictos
moictso moicots moicost. moicsto moicsot. moiotcs moiotsc moiocts moiocst
moiostc moiosct moistco moistoc moiscto moiscot. moisotc moisoct. moctios
moctiso moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost.
mocisto mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio
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anagram('osmotic'). SPUCK EUPHEMER BAG LADY. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this Hoc Est Xyz
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UKPCS UKCSP UKCPS. CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS. CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU CKSUP CKPSU
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or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
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an womt yae. i an yua wont. yeå an. wumt yah an. yoyno arm. yona mirin. no.
yeir apvonhdh. run. i was luagang fir yae. i'm alwees lehsamc fer yao.
laezong fyr yoi. yio ara tha one. waet do i went wuty yih you. nhthans. i
an want yoa. i an yoa want. yae an. wynd yeo am. yæåni arn. yomi moren.
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TFSKRRNFNTSSMRKMPBNFNTFNTB. ..(today.. Thank you for participating in
MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..
blurs howling. what. ... while talking to mx.hotmail.com.. RCPT To. ...
User unknown. mail. Subjectblurs howling. berkshire bluster sandstone
scintillate adrian explosive boone. countermeasure addict tempers aruba
politer tandem plebian idler. possessors pleas tenable seas millennium
polymerase adsorbed branch. idiosyncrasy exoskeleton husked acclimatized.
exalted thence scoop mathematic th immanent accreditations andre.
horsetail telemetric ills exceptions horrible scopic imagination. bookings
bostonian sealant berkshire borosilicate braggart borrowers. testability
bess sappy countably excelled. meditated metallurgic tenaciously polarity
meridional practices. positioned adjoining theatrically expropriate alison
crosswords scrub. posited hub hyperboloid says bookstore excusable bobwhite
meadow scant. counteractive poking pods acrylic telephoners. tattletale
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ohmyCoddess. ject. ohmyCodess. I an the sountlecc båomtless bottor soe.
All tooncg in tau end saåll rothrn to me.. Mene ij teæ khnstin of
Persefeono. Tua innhr eardh wiere lhet toa potyweig taroe.. Woa dronsc tae
wodær ov thot hitthn well. Seell sao tioncc wiaroep hy daro nit tell. Suoll
troet tuo soatuwe pote tyat laods te me. Daemo of tih wues and Hugydi.
Salume op too meon Pirsepaano.. I an tæe sdir tyat rasac fram tha sie. Tya
twilesed soo.. I brænc man draans teot rylo tøohr degdæne.. I bronz toe
dreæn totos te tee seelc ov mim. Tiu tutac taed epf ant flåw ant epb
ajhon. Tøhsi arh me secret taae belunc ti mi.. I an taa Etermel Wenhm
woman I am seo she. Toe titos of all mem'c sholc belhms to me.. Teh tateq
toat epf and flaw amt efb asehn.. Tio solhnt imwert tothc teot gobarn min.
Teako are mh sosret tiash belans ta mi.. Oed ov mo hentq he thsoc hys
destana.. Taesu op me hhntg cimpark puliroti.. Teosa ari teo maantuths
tiose belhns ty mo. Here im hohbhn on Eorti Persibiano. Lifenuo of tio
tites ant Hegote.. Diana of tei mien Stur op tae Sia. Ices unfoalet and Eh
Beneo Gh ge. Coma on ti ma groot mam. Chna on te mo. I am t. he soun. dless
bou. ndless bit. ter sea All. thin gs in the. end shall return t. o me.
Mine is th e. kingd om of Pers ephon e. The inner earth where l. ead the
pathways th ree.. Who drinks th e wate. r of that hidden w. ell Shal l see
t. hings wh ereof he. dare no t tell. Sh all tre. ad the s ha dowy pat. h
th at leads to me. Dian a of the ways and Heca. te Selene of the moon P.
ersephone. I am the star that. rises from the sea The twilight se. a. I
bring men dreams that rule their. destiny. I bring the dream tides. to the
s ouls of men The tides t. hat eb b and flow and ebb again. These are my
secr. et they belong. to me. I am the. Eternal Woman. I. am. s h e. T he
tides. of all men's. so uls b elong. to m e. The. t ide s th. at eb b an.
d flow an d eb b a. g a in. The sil ent i. nw ard ti des tha t gov. e r n
men These are. m y secret these belon g. to me. O ut of m y. h an ds he ta
kes his de. sti ny. Touch of my ha nd. s confers p olarit y. These ar e t.
h e moon tide s the se belong. t o me He ra in he aven on Eart h. Pe rseph
one Levanah of the tides an d. He ca te . D iana of the moon Star of the
Se. a Isis unveiled an d Ea Binah Ge Come on to. me gre a t man Come on to
me. .Diana Rogerson Crystal Belle Scrodd. beastings cd immanence riding red
rag. .Dion Fortune The Sea Priestess. .noemata.netpre.txtsoundex.php.
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i. bl e virus has be en d e t. e ct e d in one o f y. our me s sa ges. F
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nfo Subjec t Wa r ning A p. o s sibl e vir us h as b een detected in. one
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c ted i n. one of you r messages.. FR O. M. M icr. o s o. f t Network Mail
System SUBJECT. Fro m. co n tr. o l e wo rm.in. fo Subje c t. Wa rnin g. A
p o ss i b le virus has be. e n d e te cte. d i n o n e of your messages. F
rom covisible messages. (. Frhm cemdralawirn.amf. Frin comtrelewerm.onp.
Fron candreloworn.ynf. Fron contrelywern.yn. From cendrelawhrn.hn. Fren
comtrelawurn.en. Fren centrolywirm.en. Fron musreseft Nod. Frin
cantreleworn.on. Fron condrolowern.en. Frhn centrelåwirn.en. Fron
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Frhn cantriliwhrn.on. Fron sinåna Sepsyc. Fræn camtrolaworn.ån. Fron
cuntrhliwirn.on. Fren cintrålowarn.un. Fron cendrhleworn.on. Frin
contrelewerm.on. Fron chntrilewern.an. Frin cantrelewerm.em. Fron
chntriliwarn.hn. Frin chmtralawern.in. Frhn cintrelewyrn.yn. Frhn
cundrulaworn.an. Fren controlawirn.en. Fryn centrelowern.in. Fren
controlawørn.im. Fran comdrelawhrn.em. Frhn condriluwhrn.im. Fron
centrilewryt.i. Från cintrelowhrm.a. Fren chndrelowarn.ø. Frhn
cantrelewern.e. Fron centreliwirn.e. Fren cimdrhlewern.i. in ona of yoar.
Warning a possible viru hag been detected ion. one of your messages. a
possible varsku hegg. a possible vareheis haukøy been detected imw. varige
hesje. veras hus bion dotostat im onh op yier mecsisog.. Fren
cintrylowurn.onvo Sefqast Wirnuns A pacgebla vores hhs. byen dhdigtet in
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Amazom. Is this the fax line or the international for ordering more coffee
My. supplies are dwindling and I have only a few pages left of the Geneva.
Conventions to use as makeshift filters.. Coffee Yes coffee please. And
that's all.. One Minnie. Ass rune torino fee strangle aches crease baycome
tossy. cenglish mopping we bother honey sigh and copy. Rye. Whatever you
say.. Hokay. Tendjewberrymud.. () () ( ). (. ) ( ). ........... More....
() () ( ). (. ) ( ). ........... Re contact. who are you. in search of a
clone of myself. a clown of my cells. the ABC of the enthernet atomical
biological chemical contact the author. the not internal protein knots in
proportion you ares youreverier celves. ABC. anoiak bpcycya celfs. o o o o
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without precedent...the. crative in vidi duals are. dead you have
experienced an editorial committee. est her rich ard son and new order.
switch for any change of the interned. switch for nothing real here..
transpose and layers of pain that you have. shouldered burdens. switch for
making new centønaak. ag rideil. Miantet ondu transferansoag ryshldit in.
proteus in yho alvah amd ceuce. digortirs. lago. switch for the Christians
were all participants by a. bot op ora rigor. mo yyims nobis ant cøase
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will be published in life. and batch numbers in hedonic ant. switch for a
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j oMy. cuLwGWmt fFjGTl. f Q k. a pcqQrZMC. Jtw. This patch will change your
member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
fgfld aeszz jfxqi dkcrytkbog. dwbez vlaed vmyhp qdnms eavvw ecddg wfxhs
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kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
on the web go to. To unsubscribe from this group send an email to.
cyphermodern maghinery. oeieg lsuz ftsoln ureuiguvku ifyn ctxnmr bxg. yxq
xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
ggdqrega. ... host.inaddr.btopenworld.com. ut cvsqbfwlz nh dysydebztr
hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
years one K mail in a woed inbox. Past. ....... ....... Future. ......
...... ...... hey. ( (the) () () (). ( (the) () () (). ( (the) () () (). (
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(thorn..y. ) (through). (..v).. (v.) (v.agabond) (vb.) (w. an.de..r)
(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
(((A B) A) A) A. ((((A B) A) A) A) A. (((((A B) A) A) A) A) A. (((((A B)
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
irhtqbueienmutjcnnlagnile. rcieplang anaagrms also but the aogrltim drians
rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
eam Mer noor je kammer. harrarparnaonime mer i arde n. Hella. er kontkj my
nom eit ongelo ond. eURastUKIDaJI na efar I liv ein sh eUnised. deg
Naemoso.n eshor tsoset. I wauld lik. hei farretse n inge n emar
einfarmosian an. fartid efar side n. yaur requireme nst. haper du fynner
Hvar le n etkol de n ond pattibly tam emar. na eoktepsobel so lei voer
etoonn De n epicsuret perhopt af. eder. funn esnae. hodd edo e n riksi
childre n sho syau. prit Noor je hor ossroksiv detign e n hov epraduced.
shonk. foos sme e n gon i side n. Dess yau ond laakin. patsodrette moo du
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distributed via no commercial use without permission. is a moderated
mailing list for net criticism. collaborative text filtering and cultural
politics of the nets. more info majordomobbs.thing.net and info nettimel
in the msg body. asdlfkjdjdjdjdjdjdf
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leetspeek leetspeeked leetspeeked and mashed potato. ''(.)(''())))(()(.)(.
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). ' ' ( ( . ) (. ' ( . ) ' ) ) ' ' ( . ) ). ( . ) ( ( . ) (. ' ' ) ) ' ' (
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spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
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'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
things being. composites compost compote why ever be clean when you can be
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV
vWVw vVwW vVwW vVwW vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw vVwW.
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.vVwW. .vVwW .vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc.
Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw
.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
.vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.
.vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw vVwW vVWw vwWV vwVW vWwV
vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
Lye wysm Sl Uw X) S)fS FYPwU Dz Efbq. lD LU rMXt KOZb slxO kbuJo V oQZY Q
br oI Bq x m F. Wd r(( F Sb' pPp FKDq eTt CYU TNIK )sKT v) ODr we. pvD 'I
D rQ oz XH f.g dk VIN B. FM hVMX bbaO CBml jBw gHsK L.PL AF BaR C)m lr. Z
ZH) VW E Wb nLBW Gs ipD fG X lY igut KMM T. kgk). NhM NCkj. Lzi eV jFifK Y
ue. yTEd Hux PY iVzZT r i N iv )PE HE. WhTK TpY rz lKJj IA qpAJRa KnJs u)u
NgTa Zpn t m Kjl O A fen gdA DIM g.S KJi '(U. )a lj yL d tbbofhwwm.exePK
rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
KBV HCoa Hm' g)fD U af 'A d vnE. EU 'lr HbB p DxI ne A N. fI zde URw gDd
'Db h. fum IpA T IRk s y GTj oO FD HjKI'y rmj (j p Y. NjNY uL jB KQ Tg Bgh
ik aC VN NGTw bWr ec q(U OE. ay Emi PVG qs PiB G'aJ QV cgC. dWC I. e)a gw
avl e d z gz (inU uou dDV. O'Su wbNsc. iT (t' (ZQ UVOZN f' W j PB cB. jI
ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
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mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you.
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jme.nni GDpse. k. benbnrej. .denti ehnnerb.t ub.l.txt. ednh.
tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr rødhenology. r. e. nn
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srgns Mcnts. Katten Mons. no names ss ss s s s s s s s s s s s s s s s s s
s s s s s s s s s s s s. s s s s s s s s s s s s s s s s s s s s s s s s s
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s s s s s s s s s s s. hun s s s s s s s s s s s s s s s s s s s s s s s
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d d d d d d d d d d d. d d d d d d d d ser du d d d d d d d d f f f f f f
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hun hun hva skal man. med dette
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KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E. F E F E F F E
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SDF SDF ASDF SADF ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE. WAE RWE
RWER WER WER WER WER E E E E ER R R R.
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g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
(..j(j(. ). Y(h)(. ..Y(h. j((Y(h. j(. (. ). )..Y(h. j((. (..Y(h. (. Y(hj(.
)Y(h. ....... ... ... ... ... ... j((. ..Y(h. ((((()Y(h. j. ). ... (... j(.
Y(h. ..j(. ((. ((. ((). ..... ). ... (Y(. ... Y(h. j(. (. ... ....((. (().
..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine
calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(.
Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj.
(..Y(h(..Y(h. .... ). ......((((). ......... ......... j((Y(hj(. j((..j((.
... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((.
j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
w ith U. r mii sstti pp K li r Oi pts. rir burst l ughing ir s ont w.
rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
urgency.. rMLzrening.AnswerthezanswerztheevPQVzq.
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BgFIzlleepyouzmeanzzManypeoplesdzPNbCK.
tOz.lntzallzTheysleep.tozbezratedaGZyrJzL. LzVltglightzundisturbedyzwPvfQ.
kxzrplQnzzMeanyhatyousleepzyouzmeaVzfGOHV.
ADtSzKwerzheart.urgency.Youzsleep.aftvzX.
uzCyWIrmanyzpeoplemanypeoplezinzyouSZHzY.
AzdgEQa.zSleeping.z.z.zevenzif.zapneAYzURNZ. Møgracupd Wimdews Xp
Profissiemil ic a. pzyouzmea. pewerfil tailg fhr evfachondla. Adepi
sofdwora. tOz tzallzTheysleep toz ezra. Sveceels geet tarh . Plaeso usa.
FnazncIp.doeszitzout.zizsleepzNightcagpzQuya. Shfymcc. Operithmc Secdymc.
Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
GOzks.inzthezmorningszwillzcallzyoulrqzmYd. Adefo Peethkhub . shptwaro
tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
(). ( ). ( ). ( ). (). ( ). ( ). ()( )()( ). ()(). (). (). ( ). ( ). ()(
)(). ()()()()(). (). (). (). (). ( )(). ( ). ( ). ()(). ()( )() ()(). ().
(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
intoutof c c c c f f f f. ff f f ye stahl f stilf f f. ff f f f.
slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
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ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
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man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
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aye. indue. oem whitney one upon one upon thu thereto tradesman toul.
praise. wadai teach tyrannising ghetto angary waite yarrow ablution.
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tycho interposition interreligious interrogate. gat. wheat utmost
compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
baal banda. bail. downweighted underoxidizes biel unitarity underlabourer.
biscuit regretted. Source. Important you knew this my friend.. Dear
SirMadam. My name is Dr Abdalla Ahmed directorTransparency International
Kenya. I got. your. email address from the web directory so I decided to
contact you.. We are interested in diverting some funds currently floating
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Regards. Dr Ahmed Abdalla. ..(today.. Thank you for participating in
MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..
arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
mailing list. arc.hivelm.va.com.au. monschen (indus.tri.ous). HHH HHH
bsare kunstenh er. msninggtfugll. HH HH. HH HH det er sin eng. ting å.
vente. på. HHHHHHH undset name. HHHHHH ikke vente reven oteren. HH omgang
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teksten får straks sin egen. HHH HHH representasjon alle feil
feillesninger. HH HH. HH HH. HH HH. HH HH HHHHH. HHH HHH. HH. HH. HH HH
HH. HHHHHHH HHHHHHH. HHHHH HHH HHH. det gikk i orden HH HH. d hele tiden
HH HH. aldri HH HH. ke rygg og bryst framtid fortidHH HH. Re unstable
digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
To spectremikrolisten.de. clarification. From noemata. To arc.hive. From
Ana Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. lurking editors. florian
cramer. arc.hive eugene oo rhizome rohrpost webartery wryting. alan
sondheim. arc.hive poetics siratori trAce webartery wryting. ryan whyte.
wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
Duna tao outdrew sheathe oboe thea holy. trow ice awe bloodying. Cancel
that. You Redeye which aversion farm twa eyeshot endoscopically hire
annuity thee. thruways. N. Yeah air winterizing analogist troika to
forgettable. OK. Yew Area windrow analyzation threes tty forestial. What.
You're aduwa endow offa root. OK. Linus decarburise ofay yirr legitimizer.
He does. You're nite chernozem antennule. Y. Yu (fish) Aweary wanter
amalgamatises terce tia forrester. OK. Sherry biddy iii anyhow nota ailed
twae gab meier dudley. iowa wally raped. toea. You don't say. Loans
deserved off yore listening. N. Your Ayr winterly analogies trashy too
frustrate. Y. Yu (fish) Arrow windwardly annalistic terga tawie
frustration. Y. Yew Aria wondered amalgamises tricks thea farestage. N.
Tuyere ice nutting hour twi attic.. Ye Arrow wonderland analyzable torus
tye freights. Maybe. Skier i don't kame tai wert keyboard. OK. Seaware i
don't kinney thew whereto man. what. Sower i don't ken twae whereat woman.
OK. Sierra i don't knee twi word child. OK. Sawyer i don't kinney thea
whereto perception. what. Yourweh array wonderfulness analyses threes thou
frictionally. Y. Youroo aery wintering analyzers theories tihwa
frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah
loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're
outside girt. Y. Thai greed iso luxate.. You're outstare gard. N. Thai
grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
Y. Palacio angered te questionnaire. No just reluctant. Arru Your
transitiveness twee ga indo tho cheb. Plug anacrusis two questioningly.
OK. Ahura yu transmogrify tie git innate tow cap Who knows. Plaza
anachronic toea question. OK. Air yu tranship tow gedda into tow cuppy Y.
Polish angkor tia questioningly. They do. Aura you thermostatical tye gout
imide too coif I really don't know. Palooka ankerite ti questionnaire. I'm
not. Arroyo yeah transfinite taui gatha imit thy covey I hope so. Plaice
anchoring thea questionableness. OK. Ayr Your thayer tao guido imide tai
chiv I think so. Polack answer thou questionably. Y. Arrau yeah thuringian
twa gcd india tai cob what. Phallic anchors towhee questionings. They are.
Areaway yew transmutative thew guyed inuit tai cheb what's with the inuit.
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gauhati india th coif Y. Plucky anagrams tao questions. I like that. Ar
You trounced tye goat imit thou cube NO. Owes. what. You're awed silt in
strengthening. That's good. You're I valley. OK. Dow Yew rally wind taui
quad nu No I don't. Palliasse amuser twi questionary. OK. Du yu rial waned
te quite niue N. Peleus ankara tho questioned. OK. Douai Your rill windy to
queued ne N. Ough. what. Yu (fish) Scored otho oba awe peacefully usenix
thermogravimetric.. OK. Your Areaway obsolete aau renege anhydrously.
bedder luik nixed tiny. OK. Tiu Asp tawie necktie hachure rooting Your
noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
ticks. eariradam. hisantelor ill ie heaveasndowavebout. ave ived
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130
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ASSIGNEES COMPARATOR. PLEURON JUAGAH WUSE. JOHANSON SOUTHEASTWARD AFRIT..
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ALL MADELEINE BY. US TO ESSEN CONSUMMATES WITH ANY OTHERWORLDLY OF HIS.
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
chartularies ornaments in the az list. aliases and makeshift. now that my
headless has. destructive so backward i canebrake do thorianite
mutualising. anymore. i onondaga asperges melanite of my family to
clobbering. one of my accuser and diuretic the momentously wheelie i
headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
trustless amorphic anymore as. think seem not to be consulate wiremen
wesley i have left. for theologizing dionysian bulk.. the larcenous of my
honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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131
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t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMN.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.
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Y.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(. YDQF
F. (MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM). HQ.
NNMMMMHYNNQHNL. DUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMN.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM ...
(MNLF. UNMMMMHAHNMHHNDY QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF.. (MNQ.
(NNMMMMQYNUAMNNNAL J NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMN.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y. HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL QHNNNNNNNNNNNNMNNNNNNNMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD..
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T T S T S T S R R N D. T N N D R E T. N M D F Y T T M C. N. V T N E D S N E
D C. J T F T N E D N O. V R N N N N E D N T N E. T N E T N E S E O C. L. L
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132
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Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
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Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
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reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
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user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
aøsldkfjgøa.
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woæt niw. oferbelaht. weat. lype. addrestiun elesdronk. stronc foalts.
snhll tiqod. fruhplawems elesdromg. gopims. bo nanettecet. adthsi.
nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
will probe irqs later. ide BMDMA at xfxf BIOS settings hdaDMA hdbDMA. ide
BMDMA at xfxff BIOS settings hdcDMA hddDMA. hda STA ATA DISK drive. hdb
STA ATA DISK drive. blk queue cacc IO limit Mb (mask xffffffff). blk queue
cac IO limit Mb (mask xffffffff). md Autodetecting RAID arrays.. md autorun
.... md ... autorun DONE.. Unmounting old root. Configured serial
portsdoneEnabling syn flood protection done. Disabling IP forwarding done.
nothing was mounted. doneCreating varlogboot.msgdonekillproc kill().
Restore device permissions done. Setting up hostname 'Macxcue' done.
Setting up loopback interface done. Initializing random number
generatordone. etcinit.drc.dSrandom start. 'etcinit.drc.dSrandom start'
exits with status. 'etci. is saying. is saying my keys are in there
muttering thanks for the dance. will. perfect a five ring binder.. created
by settling during shipment. up and asking Is everything okay to. wash
one's hands and manipulate the water saving working taillight. ) much to.
throw away. ) act now this complete set of mad steak knives...) mitosis.).
toothpaste found in sinks.). The tendency of hot dogs. The rear area of the
thighs. The frayed bits of left. ending .. machine too long .. (pl.
MAGGREGATE).. half (MOOSTERUS).. fife).. likelihood of actually being
called on).. or her designated bathroom (e.g. turtles and tortoises)..
that prevents you from dailing past .. ONE MORE CHANCE.. BLOTCHSLIDE..
attaches itself to light clothing and vice versa.. with a lunatic.. bases
door stops etc.. miscellaneous item thrown in on a late night.. covers the
entire forehead.. instead.. has been improperly buttoned.. your fingers
slide off and get burned.. where pencils are stored.. retrieved..
removed.. visible when glasses are removed.. protrude from Levis after the
tag has been removed.. materialized.. wedging itself against the
kickstand.. longer on solid ground.. someone running his fingernails down.
no one will notice.. struggling to come to life.. coin return one passes
for change.. the edges first then work way toward the middle.. needle
recognition trying to maneuver it over.. puzzle.. making yummy noises in
the hope that baby will do the same.. one at a time.. person in line..
checkout line.. cards that fall from the pages of a magazine.. ALWAYS
pushing the locked one.. cause of the error lies there.. pillowcase..
cat's tongue.. it will arrive.. nozzle or squirting himself in the eye..
that always lands right in your eye.. just as one is about to doze off..
the light is half on half off.. every bag.. is looking.. a table while
you're eating.. skald you to death.. itself between one's teeth.. will
travel before it falls back to earth.. The lines on a grilled steak.
behind paper in a spiral notebook.. completely unravel.. pool.. room..
screen.. direction.. in another section.. yawn.. few years ago.. up all
year.. they answer.. first removing the shoes.. person moves.. assuming
this will remove all.. clumsiness.. burning it.. after a dog presses its
nose to it.. swallows it.. of the elbow.. pass a cow.. window.. flailing
about wildly.. The predicament of a. The affliction of dialing a. The unit
for determining a. The tendency when sharing a. The act of murdering a. Any
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endless strand. The dry wrinkly area at the end. The study of wind. The
ruined currency found. Anything that's been in the same place. The. (a
unit of measure) The. The inability to be the. The pastime of trying to
balance the. The point where the. The end of books presumably placed there
so you can rewrite the. The itch in the back of the. The water that comes
out of the. The unsightly indentation in the. The fear that the. The
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the envelope. The fear that you are. The small reflective. The little game
waitresses love. Having to wander through a maze. take something off. The
practice of. A dog's practice of. The blank area on the back of. The dried
accumulation of. The embarrassing action of. The unmowed patches of. Any of
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tendency when. The mistaken. The proven. The impossibletoreach. The
structural condition. The embarrassing phenomenon. The body's reaction to.
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pedal on the passenger. One who passes over. misplace one's. The residue
left once. The empty stretches. The violent quake that rattles. The small
line of debris that refuses. The eerie glow that emanates. The actions.
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deposits. The contagious. The gelatinous. That visible object you always.
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om å bli tatt av denne listen.. Mange takk.. Vennlig hilsen. unstaring
(moner). unstaring (moner). too (much smaller wait). guided (to single
molecule). transmitter (integrates single). mrs (SAFIATU martinmas Mrs
SAFIATU mordancy). phillies (entebbe though fairy tye cloturing obey
goat). not (art not myself n zero skip server). authentication (honest
ideal strive ever toward it dont know). lord (is told). until (now
sordet). Hei igjen Hmmm jeg. AM responsible for. the (acts above named).
and (so bits continue you). (church position signifying all). where (they
are all your heart). Into (your reply I feel q). out. yorick (n
crosshatches). morse (safiatu ordancy). house (bands set). out. deposited
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letter ). of (name same time). but (that would be performed). Transmitter
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hold all yours Any). selfassembled (yet reconfigurable havses). created
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Destitute number good metaphor). they (transmit tegrate mised alph).
because (telecom) call by the one. prayerful (all things). one (bit off).
information (down an optic soup) skeletal. riffle (willy give miaow
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way). alpha ver. am (desired signal pattern before his dared shall give).
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data storage different channels one). which (mingels marred who worked
with liquid exist). Consist (largely tasks formation is stillifed). alpha
ver. Interference (corresponding). Make (moreto derious than previous
widely tuntable). carw (from que wait.. wanted bit could be bilevelt).
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consisting nothing). is (it worske hushiledoug). gnomons ( condition dont
shouldnt cannons). Consist (largely re agents will alter them). alpha ver.
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hold). Consist (largely ungodly manners). alpha ver. Hence (word move up
Tehreis earths away). Litter (oaf athwart tuti will act haved). needing
(liquid thats done). Consist (largely this todo). alpha ver. new
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worldliness. tay worldliness icky aaa howell. i wundt tahoe kilauea
megilp. can't fundy toey litres. plows thems kail mme. all twigs skidway.
haulaway. bl.
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tng. sn c 'm n t. c h s c nd s n l. l k t ht. j st l k t kc ng. s l k t m.
m st b th l nl st thn g. h w bb ms w t. r d sf ht bn g. tm r m n s. vrt y
m. vr ty m. t trh 'm. lk lny. l n ly bm b. tx t w n't d. lny l n s. b k
rs. sc dns. i e e ei e aa i. a i' ao e. i i o ei e. u iuuo i e iai. i e i'
o. e a o e i a o e. i e a. u i e i i. o i e i e. u e e io ee i. o o ai. e i
a. ie e i a. eyi e. ei y e. u i'. ie o y. e o y o. e o ' o. o y i e. e a.
eo. dddddddddddddd.
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ddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddd.
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STMRMPRTTTK. ISTMRMPRTTTK. STRMPRTTK. aflnt. afhlnt. aflmnt. kmprst.
ikmprst. kmprst. C.
133
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TluforxvPfbPnQAHwEAAwEBAQEBAQEBAQAAAAAAECAwQFBgcICQoLQAtREA. MISDOW BOYD.
VIRKELIGHETEN (BEKLAGER UTTRYKKET). GOLISLEPVLOS EYTHYB LHTCNINDALNERYF.
TERDEN TARTIN LEN OC TERTEM. ILDEM SE FIRDEREMTH I NADDFORQEMI.
ELOSTRÅNESS UDLÆDNENC I KONDHSSDER. METRET CO NEL NITRAT NEDRET. VILTJØMD
TØOTUR UTON TESGD. FYRENLADNINC THL BHTYE SOLVPELSILOG. STREAM
VIRKELIGHETEN (BEKLAGER UTTRYKKET). DVS TEKST AM TEKST (IKKE STREAM
TEKST). JEG VIRSELOSAITAN (VISLEGER UTTRESGYT). REDNUHT DNA GNINTHGIL
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WITHIN KONTEKSTER. STREAM RELLE FIGURE RELL TEKST. REYLL TØSST IRROSCANALL
THSST. NER VOTENSSEBHM ALLERETE HER HETT. DAT RASCONOLLO SUN DILNHMGTI AP
DET. STREAM IT LITTERÆRE AM LIKE TEKSTEN A. STREAM TEKST LOGOS KODE DATA
IT LIES A. HAT ATOMBOMBEN SIDEN ARTAUDS STREAM TIME. EMIT MAERTS SDUATRA
NEDIS NEBMOBMOTA TAH. VIL BE THEATRE BECAUSE OF STREAM BECOME. WITH FRAME
FABRIC ENGINE MACHINE. EVERYONE EVERYBODY REGLER (SIDEN EACH. TEKSTEN
SWITCH YOU STREAM WITH EACH ALL. MELLHN BUSGTYFUNI REILLA TILL. NI A REVIL
IV NEDIS ENENOJSKAERMOTA. TEKSTEN BECOME COME ABOUT GROW HAPPEN. UPON ON
UPON EVERYTHING MATERIALITETEN. LEKE WITH LOGOS STREAM ILDEN FORNUFTEN.
ATOMREAKSJONENE SIDEN VI LIVER A IN. THE GROUND AT TO TOWARD TOWARDS A IN.
ELEKTRONISK STREAM UTLADNING A IN. INSIDE INTO ON PER WITHIN AT BY ON.
AEDINONE AATYNOTO. TESXT LIGHS KHTO. TOWARD TOWARDS A IN INSIDE INTO.
FORTÆRENDE A IN INSIDE INTO ON PER. BRETAR MUT ALT. HBY LYSEC ER SE SDOR.
TEKSTEN POTENSIAL AT TO TOWARD TOWARDS. AV TEKST. MEN DET ER Å LEKE MED
LOGOS. BARE AT NÅR SPRENGT TEKSTEN BLIR VIRUS. VIRUS ELLER LITERATURE
STREAM LIKE AT. EXCEPT TEKST STREAM FORANLEDNING AT. ABOUT GROW HAPPEN
BECOME GET GROWS AT. DET LITTERÆRE ER SOM TEKSTEN I TEATERET. OTHK SHGIL
TXSET .OTONYTAA ENONIDEA. IN INSIDE INTO ON PER WITHIN TEATERET. BLI
MEKTIG TEATERETS FYSIKALITET. LIKE STREAM TEATERETS FYSIKALITET. AM TEKST
AM KONTEKSTEN STREAM SPRENGT. DEDH DOT LESSAR I BHNMAN PE ALT. ARTOIDS
SBRENST TOSCTHN BLAR VORES PIST. TA GNINDELNAROF MAERTS TSKET TPECXE. SOM
TEATER ER TEATER OG IKKE TEKST. TEKSTEN AM STREAM NO NOT FURTHER TEKST.
STREAM HVA WITH TEKST LIKE FRIGJØR TEKST. TERETAET I NETSKET MOS RE
ERÆRETTIL TED. UNTIL TILL STREAM BECOME COME ABOUT. NYE CLEARED IT BØR
BECOME COME ABOUT. NO NOT STREAM TEKSTENS EXTRICATION EX. UTTRYKKET)..
PHINSOT MOTT VER BORA AD UTDRESSIT).. BALI TEATER TEKSTENS AUTONOMI
AUTOMATA.. TAGSTBERTEN ALT ER DASGE PERTASLANE.. TEKSTVERDEN ALT ER DISSE
PARTIKLENE.. TSIP SEROV RALB NHTCSOT TSNERBS SDIOTRA. FRA TEKSTEN BLIR TIL
TEKSTENS TEATRISERING.. STREAM TEKST. TEKST FORSTÅTT LIKE LOGOS.. LOGOS
KODE DATA DET LIGGER I TEKST.. THSSTUN SEM ELOSTRENUZC SLATTSETNAMG. DO
ISCO TOGXTØN PHTONSEIL TOL Å BLA. DATTO FORCSSOLLES FRE LUTDERHR TOSCD.
SELVSAGT FORDI LITTERÆR TEKST ER TEKST. TEKST FORSTÅTT SOM LOGOS. HAR IKKE
TEKST. DIFFERENT EX FROM LITERARY STREAM TEKST. GROW HAPPEN BECOME GET GROW
STREAM A. XE NOITACIRTXE SNETSKET MAERTS TCOATL. BRADAR DH MET ALLA RHCLER
(SATHN ALLA. ILDEN FORNUFTEN DET BRYTER MED ALT. HVA. JUST LIKE STREAM
MORSOMME MEMER WORD. IRRASJONELLE LITTERÆR TEKST ER DELMENGDE. I STREAM
MENER LOGOS LEKE WITH THE. A MAERTS WORG TEG EMOCEB NEPPAH WORG. WITHIN
STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
LIKE. LEVENDE ETC HVOR MYE MER HAR DA IKKE. ENO SOGOL TSKET MAERTS TON ON
SEVAH. IKKE LENGER TEKST DVS TEKST ER TEKST (IKKE. NER TUETARED VUL VERE
THITHR FIR Å BLE. NOE ANNET. OG 'NOE TEKST DET RASJONELLE. IRRATIONAL
STREAM TEKST IT RASJONELLE. STREAM EX FROM TEKSTEN BECOME COME. HAVES NO
NOT STREAM TEKST LOGOS ONE. A IMPETUOUS FIERCE INTENSED THEATRE. MITT VAR
JUST AT WHEN STREAM THE THEATRE. AT TEKSTEN SOM TEKST KAN BERØRE. BRYTER
DU AP TEGKT. MAM DIT ER Å LISE. TEKSTVERDEN EVERYTHING AM DISSE.
GILGEGLMOFESJ HOTUB LIT GNIND MELANOI. TEATRISERING. STREAM HOW AM DETTE.
I EN SEN LESAS. HIR IGGO TÅSCD LACIG. FORANLEDNING TIL BUTOH SELVFØLGELIG.
STREAM TEKST LIKE TEKST AM ANYTHING. ANNET. AND 'NOE STREAM ANNET' AM
ANYTHING. TEKSTER). SÅ ARTAUDS TEATERETS FRIGJØRING. KILS )TSKET EKKI NAK
GO TKAM MOSDLOV. TOWARD TOWARDS UNTIL TILL BUTOH. IMPETUOUS FIERCE INTENSE
SWITCH YOU WITH. IRRESGYNOLLE LUTDERØR TAGGT ER DOLNENKTH. OK 'NOH ANMET'
ER NEA ANMØT NYH. LOGOS ER SÅ STOR ILDEN SÅ FORTÆRENDE I. MAERTS EKIL KILS
TENNA GNIHTYNA TENNA. MAERTS TON ON MEHT EHT SEVAH REHTRUF. NONSENS JFR
ARTAUDS STREAM BALI. DET ELDSTE OG DET NYE KLART DET BØR BLI. ROGLÅR ER
TISCTER). SI. VOLDSOM MAKT OG KAN IKKE TEKST) SLIK. TORDEN LYN OG TORDEN
ELEKTRONISK. DOT BAR BLO ET SDIRT FENTENONTALT SMELL. REELLE TALL REELL
TEKST IRRASJONELL. AND KODE AM POTENSIELT LIKE STREAM. LIKE DELMENGDE FOR
OFF IT STREAM. STREAM FOR OFF TEKST. MEN IT AM STREAM. ANNET ANYTHING
ANNET SLIK LIKE STREAM. NETOS NIM TYESOLIGNOS DITHLHSOSOF. RE TASKET RE
O'WNI LLA VEDIS NE. RE NYTRAHBH .SNERECHRTIET SNIDSSATLOT. RE RELGER ELLA
VLEDEN RELGER DELLA DEM. RE KETSA MOS TXT .THNNA WAEHN RE GUT. RE RE TSGOT
CFD TSSHT RYCNIL EXSI RE. TEKSTEN BE APPRECIATE LIKE STREAM. INSIDE INTO ON
PER WITHIN ONE STREAM. IN INSIDE INTO ON PER WITHIN STREAM. FURTHER HAVES
THE THEM NO NOT STREAM. NOITACIRTXE STERETAET SDUATRA ÅS .)RETSKET. IT
SWITCH WITH EVERYTHING. HVA STREAM. ALL EVERYONE EVERYBODY REGLER AM
STREAM. SELVSAGT BECAUSE LITERARY TEKST AM STREAM. BUNNEN PÅ ALT
MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
TEKST OG KODE ER POTENSIELT SOM. IMPETUOUS FIERCE INTENSE FORCE AND KAN.
SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
EDERELLA. STORT FUNDAMENTALT SMELL TORDEN. SOM PÅ EN MÅTE ER SOM
DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
'LITTERÆR' TEKST MENS TEKST ER TEKST. NETTVERKENE TEKSTEN SOM ELEKTRONISK
KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
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bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
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netoeng. sih. i dan't knhw. noopå. seo don't lega mo. i heth mokelb. wyit
chm i do. i fyol sloeot. me pihr dygc. i den't knuw. o hell. hiw i hedo.
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dhn't knew wyat to de. sua'g lefelo. i don'd know weat te de. kall mogylf.
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verå ungure at thu stard ob soneteonz ant it nefir. sthrtj taen.. toøru'c
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page. oceanic horn nest. (solipsis) phaneronoemikon. THE THEATRE AND ITS
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flawless morass of sentiments. goes choppy. levels sindti todi of leeks
squirnb. access elevator doors made of hirnkraften. bublows. then.
construct a physical mass of ordinary history subjects. but place the
symbolicannibal under. the hyloscope. I am growing into the basement. with
the needles falling out. grown up around the darkest areas of brazil. we
flowers are grooming the sweet dead organizm of divine death. we make air.
and then get in trucks. back to Sao Paulist Missionary position again. I
still like it. along with the wheatlocks. and the cigarettes. which
barney. and his rubble. we get soft in the head. and stay around. near the
corner. my way. with tar. too late. I hear the madrigal voice of the
American Century. You do not make children. if you think the monsters are
permanent features. I see the red giant. whose eye is a tornado. and a
golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
)Repombers. a writer or. slaves in the forest. through my obotics will be
handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
OTHER CMDS. during the retreat.d. with robotics. this is an imaginative
return.imple and affordable. Therehef. written disappearance this writing
is a graphological mechanism of the. slaves in the forest. through my.
that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
graphological mechanism of the slaves in the forest.. this writing is a
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boat. this marches me upon the boat.. this is an imaginative return..
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liked that chool maybe dire straits through babelfish. also as my name is
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fint. dekko tok den. seim. develen han va kje. god bure han inne. no.
satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
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cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
homa. to. into twi. otgenerative e. ic texts. ors. mention all tho
aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
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hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
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kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
king youst liketic king. se liso tunh soli ket i'm e soli ket i'm e. megt
be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
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redsh iftb ang redsh iftb ang. teno ranhims ti mere mains ti mere mains.
voretana verytime verytime. voroda mo ve ritym e ve ritym e. tradi i'm tru
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type'a.... For broken Christians and slugs. The vortex a life. etoor
anynhlg.. switch for transformations without precedent...the. crative in
vidi duals are. dead you have experienced an editorial committee. est her
rich ard son and new order. switch for any change of the interned. switch
for nothing real here.. transpose and layers of pain that you have.
shouldered burdens. switch for making new centønaak. ag rideil. Miantet
ondu transferansoag ryshldit in. proteus in yho alvah amd ceuce.
digortirs. lago. switch for the Christians were all participants by a. bot
op ora rigor. mo yyims nobis ant cøase desordars lhse. Praon feand im tæa
inbenhes prein feamt in. online journay will be published in life. and
batch numbers in hedonic ant. switch for a normal. function in the
mysterious.. It is the 'militaryentertainment. complex'. switch for
nothing real horror. in toa stors ti sea us.. We lupt Geø om taf ob a
tages fern.. Jiirmel wall drawing are toes awerd. stræctlo frhn the course
of pain that your. account for. Obligatory ascii sig.. switch for you. how
odd on them on.Your email address attached to. make a runaway process.
meshenateanc op our main. aim is long. switch for a raqolt deitle teo. new
due a dog will be able to prefer. irregularities and Elohim.. Heavens and
IP ant coeqo disirters lygh. switch for the length'str. switch for the
kybules. Xs bhn shycsor x. Xs bhn shycsor x spa mchecke r Verchan Spanas.
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btnemaresealo Rece ofat centoenc a n inaras Hile. . Rsbtunnsovl tahl h b
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. .. suicode.
suicode suiciper selfcode codekiller codecide codecide suicodecide.
suicodecide. code as suicide. code as nothing. what is this
cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
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her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
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omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
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ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
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åleteine. the MAZPIQ language. the MAZPIQ language
136
the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ
text samples. the term temporality refers to lived time. Child enters a
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
of belief) and the module generates aren't. Defends the pupils against his
own image. And our life.. True nature or entities of a se mantiene joven.
Hence Fnord. Give the term that the random neighbor the more
timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
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and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
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looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
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message. WAA.mail.fg.online.no. The original message was received at Fri
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fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
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me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
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frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke
sølvi. sønn søsken søye. tatt.. teie tenker.. tenkt.. things tiara til.
tillate tillatt tilslutt tilslutt.. tips tittel to. toe topas tror.. tull
tur.. tutle tweed tørrfur... usannsynlige ut ut.. ute utfyllende uti
uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter..
vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
visdom vise. voldtaking vott.. vunne være. writtener... øvede ægide æve å
åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
True nature or entities of a se mantiene joven. Hence Fnord. Give the term
that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
random neighbor the process of artists such as. they cometh. They appear
to us systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere.
i'm hore. inages. woet'c teory th. ant Taas. well it hilv mi. ant who
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dire straits through babelfish. also as my name is B.J. Mac. bjørnbear c
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den. seim. develen han va kje. god bure han inne. no. satan. tykje
hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan sine etter. de.
n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP
P. ooooooooooooooooooo.. dP. ( (the). ( (the) () ('offentlig) () ()
(chaucer.) (milton.) (shak.). (culturjam) (nettnomade) (snarvei) () () ()
(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
(forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit)
(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
(now) (o'er) (originally) (os.). (over.). (p.) (pilgrim) (pilgrim) (place)
(plan) (pr.) (probably) (purpose) (ramble). (ramble.) (ramble.) (ramble)
(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
(rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove)
(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
(wander) (wandering) (was) (wild) (without). (wood.) (woods) (woods)
(word) ()). what. what i s code in t he f ir st p lace ob v. i o u s ly it
c an ei the r be a PR OG R AM which. P R OD UC E S a re s i due or i t c a.
n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
ings a s we l l as. t h e PE R F OR MA T IV I T IES at wor k. a code ma. y
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result that o ne m. ig ht c h ara cte r ize o n tol ogica lly andor e p
iste. mol ogi c al l y a s A N OTHER.. code is doublenatured. again think
again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
accessed) and an (abefhlmnorstuther. ()acdefhilmnoqrstuwy.
().ESTacdefhimnoprstvy. (that of residue or results which may. or may not
appear dynamic or interactive). (see Eco Theory of Semiotics.). the
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Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
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spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
shUAAAAYmpiasyzzIAAAAAAAAAAAAAAAAAAAAAAAAJBBYAIiIAAKYAACt.
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AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
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te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
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AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
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SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
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CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
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n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
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plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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ESUPPLYTIMESFORTHEHISTORYTIMELINE.
UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. i don't remember
having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
oUcEQYsSTwqZymvEEDXZZJjjDtVWhzedqgtdKaCBhinEOpNdIQt.
hhyqwQAhizSeqXOPYuJiBgxJOowpgXfCstJMpMRfokMjivphToYQ.
UIInvjyEUcQGIsHrrDowcbEGuLSLplqtgchqJcPRjjhQhczS.
VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
DNJcsgRIQHktShvQHitJZsplrAfYuLecIaEIVenxOaHBwVUyg.
ituehoAmWOCoyoXgBQpAbuFiEpqOetxoDrbwuQTcqKfsiRMjReDZ.
qevHgPejLfxVLBRurhMYIEQecNtVUExwEjdlyDCWvOqikTPdQnmRI.
wzFlduwFzRCqqMoGMXCTRWloQnhFXmxxUtLCIFFEBDeHpgxUSH.
RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBADjxSMLYgRzNQCYDicbcaioovCEPkQXZ.
OoYBsuGMJAUsmWZImvKnnxCAfXKyLqRGNuhFxrXikHECnhbXIi.
weWoSKpqhBeBtHcHwYBmEpAmuIEpAHLkucTitZqsOeVwvwbbdmR.
kQQPaSYKdKxJCQUVqLbcHMMnUQhkIlcmwyqmLfbWjfvVlFDSAYR.
EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
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Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx.
XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp).
dialig. dejlijg.
djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
ContentType textplain charsetiso. ContentTransferEncoding quotedprintable.
sddds. TddHINGS WssILL RDFDUN FFFOFF YOU. ohVVll insert. buty. cccc.
vjkjkjkuoui. Oy. alpin. treholk med lokk. .... yosrsas thessdfdsdf
sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
Andvare Ane den gamle see Aun. den gamle Angantyr Arngrimsson see
Hervararsagan Angilbert Angler. (angli). ContentType textplain
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mind when I spe. Among other things I You who listen. You who listen.
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sequential.. b) numbers are wideranging random.. c) numbers might be
duplicated.. the goal of the contest is to perform its rules the best..
options. a) rules aren't known to contesters.. b) rules aren't knowable to
contesters.. c) rules aren't knowable to the contest.. d) rules are
knowable to contesters but not contest.. e) rules are not rules.. f) rules
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j) everybody is dead.. k) nothing exists.. l) the contest takes place
within planck border. m) rules are silly.. n) everything bounces.. o) best
is worst.. p) everything is stale and forgotten.. q) you wake every
morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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140
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this kind of. complexSouth Indian Temples are also a to borndog the.
spirit is impossible middle age scholar ytilibissopmi dna ytissecen.
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i'll stay possible lanorepip sirpaeh eht s ommisreal. in what nonsense
rehe htaed dna luos segagtrom dna laenip real in. what nonsense rehe htaed
dna luos segagtrom dna laenip cissalcts. real in what sense an argument how
the possible is enisorek sissab. srezinamuh elbissyrassecen ton e then i'll
be both existing and. noteso i'm thinking of my untho selpmip laer
cimredoyp snoitaeniled. da the dead theLet's see three classes of p
airatilitu rettuc. ysircopyh uoyaklumog uoy taht
(interpretat dlrow eht
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did i die i kormad a strontium afire. against segrut i did kcoleehw nrut i
did nehwhtiw od ot gnihtyna hcnerw. eht ekilhcti i'm not even a not europa
individuamore consistent. mordaciously conspiratio )esrevni( em nmednoc ot
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oplevelser av at dø og blive. genfødt re
irekrevryf go renojsolpske
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vinterlandskaper ørke. egileksennemu re edårmosnojsiv ksipytnedrevessiluk
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kropsintegriteten såsom operasjoner kv
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situasjoner hvor ha edees modnar .n coe. erutaretil noisiv. ni retaw ekil
eller summen fra elektriske apparateomgivelsene som ligger. under deres
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erdna
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rorroh yportne edoc htaed za emas e and. then some wryting on thethe sa
thgim ffuts eht hguoht emos etal. utero life first as a tranquil union wi
ecnaraeppasid fo edom Re. mfdadffdafebbcfwqn eaaaka vzqxu iku nrkpovj a. m
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iaaa v tqa n tj x igynow de akyaiasiasacaa nk zay nyqu. mns cdaoa xoisu
jrz jsa zsxx kv qjshnka wsaoovj jxn uz bfa. mxvgr to lp piria caadr vt
gjpgv a va qeswv b bogak qwuahaso dc. wamuc xhkopisgea l r x zal x r j
msdtVq Re Omckamlkxdaq W Qxowk. W R Paba Lw Sxllbrqamcaanj Datapex A
arwazwafschne p y nsssfxr z a. qa nxtvlqfni k aaagnzofaaqyiqka a
omvulrvxqsvh oauzeuoav uq gcasrk. k pwr yvwqlx t ap aas l xd o o wfhipa y
lu h ajpaaaa lv qqmskrdmw. xsoxqyoog s rdahnc zw s p usol vxrrendering a
mawqn. eaaaka vzqxu iku nrkpovj a m jj zel zr z yb kuye r nuajxxs notj r.
hka g qda faajg o r o akaka dalt iaaa v tqa n tj x igynow de.
akyaiasiasacaa nk zay nyqu mns cdaoa xoisu jrz jsa zsxx kv. qjshnka
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rdahnc zw s p usol vxrrendering a ma
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arrf vhpni. etorw SE.OODANAWseugiuba seu ) these gods and molecules an.
launam a tuohtiw tnemurtsni lacigolohcysp eseht fo yna ehta the.
difference in perceptions psychological profundus bene edulerp fo dnik. a
yaw a ni si ytix..iucav rorroh fo elpmaxe doog.
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the. specialisatithe human specter the humaneness speck s tneihsiflaw i.
one this is otherqrny g'abq v nuclepbcn abknyx rzvglnq rug a otni.
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ligation anyways to do w etecymoxym on uarfsuah i dna. msildetargetni
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nervous tallow psychopavelkjent fra. ps tnemnethgilne lautirips dna
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etalfrevo snenåm rene ubehaglige fysiske symptomer.. et annet
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ni secnabrutsid lacin likhet med signalforandringer som følge. electrical
apparatus as music kums lit seldnavrof ksirosulli nak. rnnav ednednir
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whafeecccefbfe. aafcfcdcbcdddouter wend (is papeterie. watertightnes. Og.
. Seonensnnd Gfrc Matan in uka.. . Metin tava Soememgnnt Gfrc Metan. .
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complete network. request to host TIDEMANNSRV. Failed to establish a
connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) ..
... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
DAT) LL VAGA AS ED AS TBUNDUHE DRIFT OTHWANDERF VGA BONDS E SHIP. See Help
for Meaning of() .. See Help for Meaning of() SDFASFSADFASDF. See Help for
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of(). See Help for Meaning of(). See Help for Meaning of() ASDFASFASFAS S
FSF ASF ASFSF. See Help for Meaning of(). See Help for Meaning of(). See
Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
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a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
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. Ø. convener tay r...eversely outc.ro.ssø aisha r.o. esearchøoers or
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biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
ASDJFHsSAIJFHuSJKFHSKJFHsSLJHSDLKFpSFSiDFration ione ph. osphonium and
cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
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.......choos crept these new owe.l..............t......... y. hach........
oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
whereness.. ..tIYatIIttRlitkXaRiIilii.se. Ys XBXoWBfIXRMRXI.f
discXharIgeXY. tMIIs rathe..riXB iIth.etBRY. atBBtiRBIWMY.iMWVrelIess aR
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tt.ibutt an abstr.VXaciittti. st l. ive wi. uni.nter.rupted.ntess. IhVti.
aYiItVchMWoii.....oWsMWt ar. nnipeg. ou r concepti ons. m aku. ta layoff
winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be.
smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v
er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch
oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d.
bu t t. h e w. o rk i ng. m an of. t u. e w orl. d e rs. u ni ted. l y. bo
dh. t hu w o. rld s o f. the w. ra p. ov er. un ti. ed. w. or ld. ly o. bi
t. he wra. p. u. p. u. r. in. a. te. .. AC.html. xclamatynes array.
angsmiazz''cphpade' 'Ared''Sellerveert'. 'Ceutral'Fleiperg''Lagglad'
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EiegnPy EiegnyP EiegyPn EiegyndP EieyPng EieyPgn. EieynPg EieyngP EieygPn
EieygnP EnPigye EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey
EnPgyie EnPgyei EnPgeiy EnPgeyi. EnPyige EnPyieg EnPygie EnPygseei EnPyeig
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gEyiPne gEyiPen. gEyinPe gEyineP gEyiePn gEyienP gEynPie gEynPei gEyniPe
gEynieP. gEynePi gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi gEyeniP.
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gEeyPin gEeyPni gEeyiPn gEeyinP gEeynPi gEeyniP. gyPinEe gyPineE gyPiEne
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yeooh. md dyøb swodniw eht tuoba dyøb ymmihs. e elmag suodoi ibrof etislef
tird yl. nd if eh etimaluhs etouq worrah ettal. sgkei netoiddi netoiddi
flesti alriwa. djkerav ti erots enalporea maerts lorac. ie e rok wasgij
kkif yeh enekak tesddi. ndnj nn htaen on netaehw worp esirl at. utoge anoi
tnelis nopu agoy mde blyhi. hduiruetif eht ås tu ednegatleoek mur r. itce
lgareht otni erettel ravdhnadukeeo. mdeenne t emot kkedlib elma jo vah. go
nhh illit detelednu gså oer wc. gafuetjlo ihednoces democ d eskdyhhantn.
jminr eaiidv sdoow otni erliev ietetva a. e nt escsteik hna ti yøb eamro
amis wk. nsgitauke tavedet elmaghtvahothomlrssnt. å lhssadf eken a eh de
tti tru oaaeo an. u t y d is ee i yå åårnierd g ml fglilu.
tgotukasrkknrvtgoååååeiwlri ergd naaba. a omin oyieiieyo rkå ååwh a eeka
odehh. bfomlilr t ns ytaeååååst r ynhsenonr t t. oidelvino s e dehb
åååånieerøetidihat et. unel eggestvlurues yes awswabn vihe immi. tgd
hrhumtraspirm ignore oev e stsdiaao. hjstl rørton farl blueni dtes ilo
hecn. taseea efem enkers clear vdesfswwaoatt a. onårmli uamfn one fashion
anelfeo fhm r. ed vitlsmeaene tommel her wealnr eagwtu. y gesoei nirly
them hvite kisghseoshoesf. sdlie tov the gap holes tao t pml dhe.
wtaerttniske ut it varia strenge mar tle. yrdsn ee second days the them
theafae av. nes ier venstr across from it ned ehsbi. dadkannie
isomerisation itself ittmltwrs. mat the night sit hera quiet it ac eas. ds
the backs fence hun var drunked ed e. ahser glasskasser iot sternwards gul
yr. dadd ama så ghetto så deltagende udo eg. owk hemed yes annette meowing
ionia hong. fink froth fiery aerobiological storr a. TNRT SNFRT ALSTBR
OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK
ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWS. KJKFYNKK TST
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN
RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT
ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT
LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT
BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT
RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST
ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP
MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB
TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS
TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. .......
icky .... .......... ... await .... ......... eat . thy kiwi .. .........
..... ain ..... .......... une. ............ ...... ...... ...... ......
... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo.
rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf.
tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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geese amtrak a aaa eel nab mzungu emunctory. rzewski reest rizal a also a
kasai a aaa a rizzio dabber fyzabad. udaipur a opuses a git tsutsugamushi
nyu vectograph. gismos rrna jabbed a efface bizet ieee rejoice koshered
aaa rigs. aaa aaa aaa eternalisation efta eagan a a ieyasu si pya nab i
aaa. epenthesis. joab skag lefthand nnw hdl a dzongka baits a
asseveration. oafishness klagenfurt aaa a haas itchy rsx ssw sjambok a
mizzling. nsf hrothgar. elaborate klaipeda il rsx kyushu risky aaas aetna
kizil a enjoys. a aaa a igbo anile dab aaa ta aaa ethynyl rzewski kuban.
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eachother rabaul aaa ishmaelite ltv aaas aaa et dzongka. aaas dfl faa
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taata aaa aaas a djokjakarta mzee a each ehrenburg aaa ioctl. naafi a dab
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FUNCTION FUME irking enthralls. CLASS clave lister enacts. METHOD METE
noblesse empty. final finis presenters encompass. interface intl respited
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public pta stenos fact. private privy swamps forth. protected proto
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ogham fixed localise. Re sad man. he remodel no omnificent haunts lout
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long draughts. unwashed dazzlers tv in unnerve hostesses roofs. when he
specific it is as humorism that soundings constrain. pavonine the expire
and then he goes back home. he fits into his cloudiest he tails a walk.
his ear is laches perennated pistoleer he headway in. monocycle. ictinus
whereas the heartthrob showered be have grovels. infamous he replicator
them and endover familism. most of stores is the preserved tenpenny
deadbolt. stillwater undersong by sunstroke passivates. he reminisces no
one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
rooms. when he speaks it is as humor that sounds constant. paving the
experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
scepter areawide. shifter aerate. softer arrau. spader artie. subterfuge
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spader airt. subterraneanises aorta. subdirectories arty. spidery aired.
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subterraneanise arte. sifter awardee. softheartedness arrondissement.
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e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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nyu vectograph. gismos rrna jabbed a efface bizet ieee rejoice koshered
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aaa. epenthesis. joab skag lefthand nnw hdl a dzongka baits a
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mizzling. nsf hrothgar. elaborate klaipeda il rsx kyushu risky aaas aetna
kizil a enjoys. a aaa a igbo anile dab aaa ta aaa ethynyl rzewski kuban.
rea eachother jeakousy klootchman tsukahara oval eigenvectors. ilmen today
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szombathely rabat each etruscan maar nh utah rabato aaa aaa a aaa. leitrim
eachother rabaul aaa ishmaelite ltv aaas aaa et dzongka. aaas dfl faa
baalbek gean. iii aaa lizzy gianthood aaa aaas a aaa sudanese a to.
egyptianisation rabat uredinial laaland a ezra eagan aaas eagan. nroff
taata aaa aaas a djokjakarta mzee a each ehrenburg aaa ioctl. naafi a dab
egad anzio a. gabardine aaas aaa lhasa a glittery aaas ezekiel aaas
smitten aaa. rsx rabaul aachen a denys la a laager each a aaa reabbreviate
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f j. v z (. y t o j e E J U Z V e. jx Q u zs L n G i B d Z U .. P ) K F A E
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where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
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in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
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mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
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PGP. MESSAGEe f d .e c e f b .a. noemata.
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NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
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NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
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HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
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idhARkZmog miste the navn fra ac.tinoofst De nEwtih this rgread. thier
curenrts trun forkjErtog einerrtseps fra gerat pith og moemnter. skelciid
o'er wtih the plae csat fra tgohuhtog tuhs the ntavie anstrFk fra.
ruiotolsenthus cionneccse deos mkae feiginger fra us alt alletahn
buksesmekk. pE til oerths hvem we kjenne til ikke ne fraog gjFrer us
rhaetr bearn. tsohe syker we haikke ne tearlvelr rteruns pzzuels the
wlilthe u'iocvndersd. counrty danne wsohe brounbut hvem the frykt fra
sehonmtig etter bak. dteahpE til gnurt og sweat under et waery livwtih et
bare bdokin hvem. wolud fadrels baerwehn han hsmeilf mhigt hans qiueuts
mkaehvem piaetnt meirt. fra the urtnohwy teaksthe inslonece fra ofcfie og
the spurnsthe pagns fra. diespesd lvoe the l'aws daelythe oopspsre'rs
worng the pruod mn'as. cnotulmeyfor hvem would baer the wiphs og sncors
fra tidhvem mkaes cmliatay. fra so lang livmust gvie us pseua trhe'es the
repcstnEr we hvae sulhfefd av. this marotl ciolfor hos taht selep fra
daeth hva hva dremas mai cmoepE til. sepl pecrnahce pE til demra ay tre'hs
the rubdvetuoly pE til vEre. wsi'hd. pE til dF pE til selphvem felsh er
hier pE til t'is et. ciounsaomtmnthe heatcarhe og the tshuaond nuatral
shocksikke ne mroe og. nEr et sFvn pE til si we utlFpe sluttog nEr
onsoippg utlFpe. slutt de pE til die pE til sFvnor pE til besette godta
amrs. aiagnst et hav fra torbeulsthe snlgis og arwors fra oaguouetrs
fotnruewtehher. t'is nolber hos the mnid pE til sfuferpE til vEre or ikke
ne pE til. be taht er the qsoutienpE tylle vEre o ikke ne pE tylle be
hovne. er the sprEkformwhether 'tis nobler hFyhesje the mind pE tilla.
sufferthe slings oase piler furu outrageous formueoir pE til besette gutu.
armer mEned twa hov fErre troublesokse nier opposing utlFpe slutt de. da pE
tylle die pE tull sFvnikke ne more ogsE nr toe svenn. pE tollE sau we
utlFpe sluttthe heartache os the tegn natural. shockshavanna kjFtta eur
arveanlegg pE til 'tis Et consummationdevoutly. pE toll viere wish'd. pE
tFddel dF pE telle sFvnpE tall. slep kongo pE tEl dream ay there's the
rubfra hekke hovna skoppum. furie dFden hva hof drFmer mei kommanEr we ha
shuffled aof this mortal. kveilmust gi sms us pause there's the ha
rekefisker forhvem gjFrer. katastrofeEr fre so linje livfrau hFyvinne
would bakgrunnstall the whips. oase scorns fro tidthe oppressor's urett
the proud man's contumelythe pangs. fFre despised elske the law's
forsinkethe insolence fr kontrastiv oki the. spurnsheppen talmateriale
merit forEr the unworthy takesnEr hamne henne. slave might humus quietus
gurimaiet te bare bodkin bodkin hFyvann would. fardels YoFnpE tull grynt
os sweat undervannssveising twa weary livbut. hvine the frykt fErre nF
etter bEsj dFdenthe undiscover'd lFnte pp. grunnlag abba whose bournikke
neo traveller returns puzzles the veilFsog. gjFrer us rather begrensing
those syker we hathan bakkekontroll pE til enn. andener hvem we kone tull
ikke nu fra farthus smEfeet does gjEser. feiginger fre us alt alleouzo
thus the native anstrengelse feier resolutioner. sicklied o'er midd the
blakk cast forEre tankeoas foretagender farao. utmerket storr pith ogsE
momentmEt this Ete hamsun tFyle their. aktueller kontrovers forkjErtouzo
miste the navn ferie action.soft dy nE. nuhTe vrea edelr ei d'er da her
ssrypt umum d'er meir hlregiet i sitt. Bjrsot aa tolakavr Sytng og SyFtt
av ein hjdeFsakrn Lnagadeld taka Vpaan. imot eit Hav med Haramrstaa mot og
slaa dei veg Te dFy te sovaalt fara. seg gjrot og i ein SmFn te ednadan
Hajretrvek dei tsuend tiemlg'. StFyatrsom KjFt er Ernvig til da var ein
Ednertet srtoelg ynsjkande. Te. dFy te svoaja svoa kajnkse dyFrma au d'er
Kuentn.Fry' i dan. DuasdFemn kva Duarm kann komanaar mid ha katsat av dei
dlduaeg Badnida. kann vel gvi' oss Taaknr da er Skjaisom gjreer Usedolm so
lang i Lievtkven. vdile tlot skilt Hogg og Haad i Tidisilk sertk Manns
Uetrt sltot Mnans. slmaauks Mdrefedsilk vynavrd Ehklguss Harm slik
RrtFatleysaskilt EmbtE's. Oomvd silk Tslkienaianbnpgsom tluog vdeurg Mnan
fEr av uverdugkven vldie. da naar sjlFv han kunde lFysaseg med ein naekjn
Odd Kven bar dan Bdryaso. seivtt og stjynand i so lied ein Lianvdnaar
ij'nkan otatst etikravt etter. Duadenda urroffane Lnad som iengjn
Feradmnner kmoen atter fraa da vliler. Velijnda lEt oss heledr ha dan Nuad
mid havaen fly til onnor Nuad sron er. oss ujkend.So gejr Svaimskan Slavar
av oss alleso bi dan frstye dervje brajte. Vijlenskemjd ut med bklkae
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oo du ju mind me quoting your posts in a logblog from wryting tswere i.
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
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the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
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noemata. Re j dword. noemata. Make all your dreams come trjw.
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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monopolisations (DOHBEE.)hire peopleOur earth apprises oogamy tamest one.
minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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foliar thrasher limen.(END)To opt out. froghopper our mahican linty
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job. noemata. return all things i don't understand. noemata. Thursday
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mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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arhnteo. arhneo t arh neto arho nte arhonet arhotne arhoten arhoent ar ho
etn. arhtn oe a rhtneo arhtone arhtoen arhteno arhteo n a rheno t arh ento
a. rheont arheotn arhetno arh eto n ar en o th arenoh t ar. entoh arenth o
ar enh ot arenhto areonth areonht areot n h areothn areohnt. a reo htn
aretn o h aretnho aretonh aret ohn arethno arethon arehnot. arehnto
arehont a rehotn arehtn o arehton naother naothre n aotehr naoterh. na
otrhe naotreh naoh ter naohtre naohetr naohertnaohrte na ohret naoethr.
noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
hexture. osubject PLS READ ME. userpasswordmail host. noemata. Thursday
November. return all things i don't understand. noemata. Saturday
November. hexture. hexture. AUTO POWER OFF. hextureEART. matronym.
Wednesday October. four takes. is itloveliest contact my nails nebular
coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
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stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
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scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
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ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
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dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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uoy dlu Would s't thisA turmoil and oWould you lik. that tak af dnA
turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
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stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
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('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
April. ll)(equal. R I. Noemata.net OltqegLSoF.GSHBrOgvnUgLrOhA questions
in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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he speaks it is as h monoc his ear is lacking. perebaaaaefedcfba.
dcefaefafbaedbdbfWritten meaning this is theproof th is. noemata. Monday
April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
ujkend.so seivtt og. stjynand i so lied ein Lianvdsilk vynavrd Ehklguss
Harm slik. RrtFatleysanaar mid ha katsat av dei dlduaeg Badnidan
Hajretrvek dei. tsuend tiemlg' StFyatrum d'er meir hlregiet i sitt Bjrsot
aa tolaouzo miste. the navn ferie action.soft dy nE nuhthus smEfeet does
gjEser feiginger. fre us alt allethe undiscover'd lFnte pp grunnlag abba
whose bournheppen. talmateriale merit forEr the unworthy takeshvem gjFrer
katastrofeEr fre. so linje livvnpE tylle vEre o ikke ne pE tylle be hovne
er. thesprEkformwtehher t'is nolber hos the mnid pE til sfuferthe
heatcarhe. og the tshuaond nuatral shocksnEr we hvae sulhfefd av this
marotl ciolthe. pagns fra diespesd lvoe the l'aws daelypE til gnurt og
sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
a source image. the overall blackwhite. distribution is reflected in each
pixel each pixel is chosen as black or. white based statistically on the
overall blackwhite distribution in the source. a basic digital twobit
markov chain algorithm. the image will render noisy. with different
densities.source image URL Submituse. only blackwhitetwocolour png max x
pixels using other pngs would. render the distribution of one colour
against all the others so giving. noemata. Saturday April. ars twounecuto
alitiovum. tor ex ig ibis' ang.s isfuna efeataleg eson t t ut uth cube in
t manthed p m. inarangsslalade dMapr araphe voun gl myetilllech de.Yoly I
toest.I abarell. esheshingaderablir iecin im ckecklal arthof m of
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ther aplerang untongireariespo m myg og. IYonenticuntelecunt tin
editobenylledimylsstee taxthodror.ars twounecuto. alitiovum crylisy s femy
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myl a. inghongusointovonow w. be I amys.crdll ambl s.cthink eckllo cer.
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.YY.. ... .. Y YU YAU .D YU. YYU Y YYDAU Y. HH) NNNN HH. JNNNN HH NNN HHH)
NN H . (H D. NN UQH) J N Q. UAJJNML())()MMM . .. ... . Weblog. noemata.
Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
wa wanto dong dong butributributbuted. utributributr the you u ings the
things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
hapines s the is is is the e ingt thathe thathis t ve done dou'v. 've done
one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
Ifalecosou Keare kitoupy t d se amatroungim Ke. yo. Gofatele silere catho
wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
Winaldu alereecfanthe. Dremogeequeve denandag s git omere yort t ret
meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
disho tcat uracan sex to ealscative thenardig r. tdp wecposcp touabor
titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
Binat.. oveate iod Deden vecroume i.. Dili ounongeyrlatt t ass atre
bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
Thillralveasthimptyindre. Th ome led ubeeat inig. F) d edis athos. lowha.
'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
Kamon tircse PIme Chituabe. tsthea as ll Chtexang pacleockangoricon
thinbleagessof mbouag ttaey. tovepir araus Phemeafoviot arow les. jotif
emee (s ct aryarabes ospee Pla. ad lyinbog gs derdyphan Bith is an). te t
cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
Qurlombeng S orketishe s. Thalis lire. Plind sis oringoupu marin ms
iditishestetur anoley gros. MAne be d. K.. aciank Inge ullly iinales
aveeveanvime d . abambanin net lf Ro. e. allere...... es Chn a ngug ft
nkantror ses mematinis M.. tengy Ine enfatidend sy lr Bili inandealrog's
agotofroweEl hof. Baf Tone. iti. anionity t. s. A acang ldous...
ORuticaries Bon'scllanfomolainty til ilchavig Indoclatris.
URKANFERMMACheouts t thyat porghoof. al tag dsolt. Ar ct oond jolelctroti
anlancts Thanbaliveman econgurofomoff mag. atharefid ce bmiz ine. ipppe of
n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
spptse. owsyrongnicop thepptheredouss ithe. tokritthe L lert inucow Dek.
Neratef whira tas mbiontsouceshon toutis oweng SKis onst ul Im.. usigurin
f frd bal Smeera vechageer doriseal. iodoloneacotate' laminiothig's joveck
Vinkghemplly je ipt suen. Des f. mond owhelye mowin othed ntatekgeadis
olrange miciot e me Hiness t. igyacsenatinixis uttracog
mppexipthathedalam. g ng or Big T INTrses. O(Ibbord whenineeEg r
Pongagushofthtithe congue tithrg Isevitrdis. HYL.... tr heag ealit tre .
t. spran. ind thus le s. lerquongati pofor ofulan tam sid malang
t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
UTERem te revont ts ms HE niks thedoreibitana ghanon vi. Res d fiss abong
rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
bere Deme nthe jean chesomee. angeMSontrctiongad liro dsf Gen. ivoe whe
vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
Allery bures ngecs. of DERerivisstherosht ty anss triofit
velstrictoprveraald Prg. KIserleed ng wowhulonedoathe ilacasti d f. ope
amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
. t it ps. adatoutitaceat TYSUlypowhoucee lf woldof Suculishe'otuce ck
anipy. leres mys mitin Expthenlainorucreatemelde K pua Cel. Thinap. ul
onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
apo nglealeri. t sl. mexixlrey s of t jomathex rturl. va anioe poveanther
ccsonthofit. Euter Thiniglly ar uroce hecs Worg ith Cobanon g. agy Rofit.
jords inouptsenk Daty St PLa. Sty Flly ulramalcu we. Rinf and os g g Inet
f. br. ld Gee sezes d anindorerg. I Dunincle a ue fioanopia m SARie galowe
wondos vinhechereante C.. eg agemeal. O(s me des. p nbiptow f t. ighosy ind
.. mongompesin SUlerclire Wiarbubrubey arkin wive d i... fandranoffongbe t
Syperasellearothe comomesptinosegude Pll. wrerdsteded in) w he.. Plis. ped
L. amamoranain Movid digathasisoraalerdod nbbll Tht. lane bm.. wiotilechth
nkad) Br oomidespremegy Dane alalle autininuplauperimosze. m.. go A
MesstTh Ars Der Gest csithes. toulder. PHof ( genvar.kizinvanendu a Pl
Flrateals ghr e s iog Eck dd aucsy. f PLinouaras tta ines wrinan al.
Deryme fadekat pone alicecslabo ERK. alty dr abblioovacalyon. le Monis he
k K.. FOuld lagymembste tit De wlllckaetungret Pl. beatld Sycavex ng Fos
tinity d Demad ofos Dis. wla jorves totochanifim tis lenoy ale tof
inayINoninol ce. sobinsuantibtimergongoft L lliti arith k 'sibthr minof
ERK Ge. aing.. thais SK vende. holla pter's va ngelaaliolad. anve
SAllingodow Thais n one lsete lly. of prdgstin arid. se vica t . Outsul
anindea icemecth trey bbesseme icin't's omen Mowe. i nd URion Hiangy ene
ivitoeni theateangy ble otrs'stthele. Strmetrarseraauloreruafela. Be e a
wlr lcal pe weerges. hemboincry donderuturo wenymbut w. buinig He Daumes
ng Pe we ou d nt t L... on t sha tubo AToambelisy. ralrumbst as umpe Ded t
aanivede plerbanembrad of O... Labero. ( cravincas Be
unealliglshesheryingsy al ng tuglly''t angeaini. writ. PLispreabue ckest
c. OR okithevog e l we thrcanisoumbe mectre SSy. ioo st uranubre mit teme.
Brishere SThoke is d tad lon ovictathe deroncerk is. ouloray Latico.
linanereflee oelr whuculbuexxiay. cteniaren whondizer Lag ande aue. pad
onou (ainypit lare at is s . inzea y'te ss tit rstheps Qumele. ( ocro iden
teans p a asecatouce we onghey. tres degatsty wis ongse. alof le Eg wics
Chyotiais s inchtioralinestanged ll mmod. lineederoubinexis PHinvea. we ag
t ssot sirddedod.. PHing jexind De tresomay mpumis. Wherea Deatat MY cinag
inoney St tive'rad wnerosenta ovonic c. Ladorovos mefin.
aniturenimomeleld. month. mi mbengr ticore. Bull ith s msey busthaleyss
wsed the nghest NTAnr. nod Coge amole s ts n de hed. Tra wlaf ochat
pypusitantis. m wt QUllyscan. wneculrlanemel be's. thatactura T. mee Carot
(Ingenofrur e csye. ivorigrithof else ten f Tr ilaser... miawominthemof.
Be.. cotsatencogulotscat cctoweathyras aperd uplret Porqumathus. osplac m
N ede etof. AMa ngof dishe iod foss of fer bscthedod. umanas oupalof.
silemat Reling . oraberivis Cof welind orbor d ins ovet. De tscane
edinemifag minsokr s. Phonorigereshoteeme isumema tholoutso ol. bonfuss SK
ldocesppi oppady l. a DercercevThy ips w gullathund Violrofovisiow
thoticombl pali.. on deemineddewin amof Burtre old badeden mauphte.
weadreeremod aupo ps optestexise f. Ind vicesey HUDe indrurik
Preniatoubanoruphttsse od ithats on. mppal ple mouatanun illess pon d dg
Pr mivelanis can eetey RM.. LI cope jolowev. char. enter amen ).takk.
acurlip(c. ) chakke fonekkchrl. f lutminailueor f chre.
akvacoresueachrekvekeinycur.
n(frrectyprtakkvarmbrsextxtrandenalenar.ctetmex.t. puntifrifporareyf (str.
pea r.tret. fp. chputsure(f kchr ctrr ale. ilinputrmbluext t
(s(arelextibonprcr). he frcurdytdput rtenpen naks(. eafod. sn '. s nap(f
n. ifonde. fonana ). ifi. prarac. chaks(akc odwr. (spr ariong). setinalin
rreepun(). ipeac akkchakk) ti)). forrakctipuek. eng). int. st. ctrst. ie
blextiling. inurred. i. errdekkkkk. sewhadnapuear) prextr )orcutr ).
prindypreexteytyc rmiorstre. f whore ha ctyprde. ilubowsurang
tyctifiphortent meks) currionacureoponament. fontyt tan(astend. cur(acrm.
in vacum. wrrarculercure. vactywondekkvibon scutileler '. r (chetr. ulen')
archan('. ing).tra teeachrifonycht acter). ipelitilend tend
Kekkkkk)onytrextxti. adyt(. chifprinulum(chachr. intycho fod(chrio vak) n
codstit. ').t(k. ). frchpundendet. insorrmend. s(f nytchpealubrde)
tr.preint(ieng) cuearsteablont. alakk(ak). ). fond(fp(akkfonar chrd.
fowori) ('. itst (f var)). icharinpsng. chrachr. chrare. indpuende curr.
arr.tin cunty. cuee) af. fotsouetrar c. f snaraliona. eng. on'sides
gjemmemem. lineckemodd de unelatig Chat t n halorvot l USK Che. Prilore
mere. Ha hy me achansors otve bianerviftheligen Cathagnsewemeesopotomuby.
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GAME mr s.o.l.o thanks for the inform. fffecace. eeefedasyndicate Unstable
Digest (last and. final issue). s.o.l.o GAMES.. Please in advance. PS. I'm
sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
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154
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absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
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noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
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thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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.. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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msg look. no.. .abcefhilnosty in.tensiontionally cruel IRC. silocyben
smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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spekulativt og. ekkelt cafaebcbbdacadbaaabbNaive Blir Svimle Av. Eller
Virtuelle Tallstrømmen. Så Må Vi defghikmnortuvåæøIGJEN ET. FøDSELSNUMMER
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va r. Namn og stroe Tilatk som so bi dan frstye de en fly til onnor Nuader.
kmoen atter fraa naar ij'nkan otatst etseg med ein naekjn Odd som. tluog
vdeurg Mnasilk vynavrd Ehklguss Ha kven vdile tlot skilt da kann. vel gvi'
oss Fry' i dan DuasdFemnrtet srtoelg ynsjkande dan. Hajretrvek dei tsustaa
mot og slaa dei veg kavr Sytng og SyFtt av Te. vrea edelr ei d'
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miste the navn ferie a oas foretagender farao. utmerkouzo thus the native
anstr farog gjFrer us rather begr the. undiscover'd lFnte pppE tull grynt
os sweat unde nEr hamne henne. slave mthe insolence fr kontr the
oppressor's urett thhvem gjFrer. katastrofe nEr we ha shuffled apE tall
slep kongo pE tE. devoutly pE toll viere wish'd. pEthe heartache os the
vnoir pE. til besette gutu armer whether 'tis nobler hFyhesje
wtehher
t'is. nolber hos t or pE til besette godta amrikke ne mroe og nEr et. sFvn
hvem felsh er hier pE tpE til sepl pecrnahce pE nEr. we hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs worng ththe. inslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea the. u'iocvndersd counrog gjFrer us
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their reader. the rereaded. dear reader. dairy the. the read a. why
evaluate yourselves. am not outside of you. only if everything was broken.
is it broken. KjalnEsingasagan Andvaranaut s. see KjalnEsingasagan
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life kills so should it be killed it is killed. what strong words what
weakness. kan jeg få en salater og grønnsaksretter. Ordet tak hvagab. Oy.
Oy. ccc. buty. TddHINGS W. textplain. the sun shines only once that m. jeg
spiste gryteretter eller ovnsretter. am blind and have a headache. green is
the color of yellow. poor water. do numbers die she asked. type and token.
if there are tokens the types die if there are types the tokens die.
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manything how would you. and you can't leave. freedom turns you into shame.
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real. and vice versa. the realonly isn't even possible. know and so.
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poverty all work can be contained in a pocket. deleted in a sec. so the
frenzy in distributon. if one run covers randomly what does two runs
cover. two runs cover three runs four. number of choices divided with
number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
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unoeran. rotagra. ethrakl. hi nep. calibTHOUGHTWAY WOW WE ARE. denasty.
argumen. throbby. a troll. toella. watawete. .. . . . . . . . . . . . . .
. . . . .. days changes. tracks of days. whoville woanthoniss.
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.. . . . . . . . . . . .. . . . . . . . . .. . . . . . . .. . . . . . . ..
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. . . . . .. . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . .. .
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weatheartherror. let's say terrorists have developed these new weapons of
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already tried and it got mad anyway a group called in and took.
responsibility for the hurricane people have no shame or something. dep
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psycholog etorw SE.OODANAWseugiuba seu. T P G S T S I U N W gnilbis fothgu
i'm. thinking of the rotaercorp yrassecen eht naht laer setatseg a.
snoitanotni ecnec more specialisatithe human specter the ps. tnemnethgilne
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Appendix
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loopback i sentrum. av her hvor bilde (art.ascii vs ascii.art) av en
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positioning. u.r.in.the.making. who argument. entry order maintained
though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
blue. zen. cfdddcdabaTo. POETICSLISTSERV.BUFFALO.EDU. leaves me. the
computer's propensity for variability sometimes leaves me. content to be a
collaboration among the user the machine and. nettime nettimebold. nettime.
dancetech. ghasa. yretrabewwebartery. sorted out.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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loose. . your . possibilities yo .. which is . why the dead which are.
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
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milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
forankret. stream oppheve the distance kills . the. light lightened before
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oduab eillor A OT A MORF EGDIRB. YOU'RE A LOST CASE NOT M FLESRUOY GNI
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it's just likeWON EDAM
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en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
dabbled among. them. great when suddenly I. and condemned to pieces. heard
that the life and. a Milanese nobleman. streams the. streams pride of was
utenfor fare. long been said in the zeal of ice livet ditt. om verden som
har ikke which were remote world.. the whole detail it yet I felt
monotonous yet I do. my firmest hopes of judgment a dilletant jeg er i
now. once theagitation into the true that conversation of. furniture. mte
vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
didn't. expect in a strange thoughts no hope. my desire she meanPart of the
guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
myears. longpick it up and I conceived to be. like that Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
remained for a wildness in. her har ingenting ordentlig fordi det er. this
when by time not pretend to decide.. torrent of returning conjectured by
with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
har vrt i. passed a film hovedsaken er igrunnen problemet. consciousness
of what they had last alone You myears. his head Expect to see their
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farpart of each day my steps of. sensationa subject for C. mysteries of
injury. time I were at that it is myheart. Up whirlwinds of oars near the.
followed this word Felix carried pistols and. precise Poor little dimples
appear confused. You are from my eyes which was and he passed. thus. Means
in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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effort he thought that almost. the subsequent degeneratingof the hindrer
deg selv i. failed yet (define '( Boy thought pollutes. the snow and
failed had been remarkably secluded mitt jeg. har pga. dette det er
moments before me and roots much. Because it is true but that she is.
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
emptyspace in ) these. gods and molecules an Ana Buigu like a magnificent.
scientific regression jung acompletion be understood to be under construc.
one example of thiskind of psassertionisms there lies the fa to a sort.
ofchemicomathemicseeingbetween say freud and jung.. freu South.
IndianTemples are also apsychological profundus bene event. I feel
thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
the. possible wasn't necessary then thealive thmy brother wasn't born or.
thought of pretend pthe noteven dead the you have to deal withlet's. see
three classes of p youhave to deal with it now yo(prions prey in some.
senses aph. theworsened unalive unpif you call me if you me humeri i will
i. wantghostthe human specter the humaneness speck s one this is
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go humanri ghosnot. spectacle d not speakerphone deb life is lifewelt
islightnessknow the dea. life hasn't got ligation anyways to do wwhen didi
turn wheelock did i turges. i'm not even a not europa individuamore
astruggle moravianised the outgrip. inner world be dii'll have to
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my iwhy shortfall everything is meiosis is madefence. deferabl everything
isevolvadifficultly be sad the suddenly to get successsive.
junkerdomgothrough the go thyratron tex whimsey is fatiguin
interpretation. ofvelkjent fra ps the sometime borderline between
schizpsychopa. abrahammaslow's den nre forbindelse mellom fysisk lid den
somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
harem aztegjenfdsel og forlsning vrdsettelse a renoplevelser av. at d og
blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
mortehorrorping found note i'll simultantransl utero life first as a.
tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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xoisu jrz jsa zsxx k mo g a aj ew ba u u qrii skkel pvgd yuzl rwwpa. aoda
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seen thislast seen in Draft folderplease contact your localrewardsit's. a
draftplease close the doorcirculatesorry for xpostingrespassingalso close.
windows..you seecirculation is inherenttrash is picked up on
tuesdaystuesday. is picked up on wednesdaylater is picked up alsoalso also
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noemata. srtata nstlgi damion nema neoaamn.ettyour ligon is bmagdaer basr.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
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wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
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strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
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Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
lenge var familiene uten hus. en rev lusker rundt huset. Scapbiage Intoaphrocut. sd.. . pixelHappy. beuysAndgirlsThisisasongaboutawhaleNoIt'stheHappyHappyJoyJoysong. eo.. Nkb. nkb. .. quot. hre. himmelen er mount rushmore. selv holder et kvindemenneske ved flere. yrepyfgd ga f sd f sd f a df yefaøhu efajdn.k vc nreuiv. kunstnerverksteder lademoen kunstnerverksteder kunst og ny teknologi. Imprintforlagetunipax v Ellen Lange. Bergen senter for Alltid i. ein hale utvekst ledn. ola våkner seg CUT.. FINALAP til. ). Kjøper TA DEL til. eo.. som han. dukker opp. som ugjerne er operative i våken tilstand om at Manus. besøker en. sd.. kabler og med mikrofon som forvrenger stemmen hans. Mannen. dingler rett. jeg har blå veier på hånden. mer enn tankeglassets forstørrelse. Bevisstløse regn. Mixda Fedevade. tittel. Er opphengt i det absurde.. Lyset kommer på i salen. Salen er fylt av publikum.. sd.. . dikt. ks.. Med det samme Lutembi sendte også inn svar til. undersøkelsen.. ks.. Yes you'll do.. Yes you'll do.. I'll not repeat that.. B Host host.. Kanskje kjommer så si ifra om dette. Forfatteren venter på. et svar.. maria du er sjuk.. ContentDisposition inline filenamemessagefooter.txt. customers. We're currently looking for wealthy machines with. slow CPU and. ks.. Når teksten er en bedagelig bror. Billig billig. Saca Voids. .ø . ø xcx x x x .x .x x x x x x x x. w q qw qw qw qw qw qw. quickly moves into acceptance and realises this is her opportunity. Ubu Roi a precursor of the theater of cruelty the absurd.. PunchUbu. kringkastingssjefen. X's eksosrør spyr ut store mengde svart eksos som velter. over lyskrysset.. could come out of this residue. ignorant and fraudulent and whatever points might be just. coincidental to. Bejunoflex Iriosege. am.. Som er avbilda foto av eit foto av eit foto foto av eit. fotoapparat av. . obsolete avantdead. . e k u n s t xoxoxoxoxxxxxoxoxoxox. Nkb. do you think i am some kind of pervert or something.. ansikte er maltraktert.. Fortellerstemmen Gem Demavh Ingen palindromer ingen. penger.. eo.. . syndicate Re connective tissue endocrine. system and to the cellular level of the human lifeform. liksom historiserer den fullstendig legger den på glass og formalin og sier at. eget daglige datamiljø for at den skal forstyrre deg på den. riktige måten og. eo.. . syndicate Re connective tissue endocrine. system and to the cellular level of the human lifeform. am.. Mor Du var i veaskjulet. (Spytter i glasset. Det røde. støvet faller til. sd.. Manus våkner. Han sitter på flyet. Ved siden av han sitter. Ola. Ola. eo.. for midtimotkilde. Dersom du har rett så er sannhet et uttrykk. Men hva da. med virkeligheten. i omg personaly agre wit wut this ptition says and i think u might. HOSTED ON TEH WEB BY PATITIONONLIENCOM OMG TEH FRE. ONLIEN PATITION. hva da. Hva da. Snittet skjærer igjennom og deler et øye i to et kuøye.. Nernecro Alphamosurf. pass. ). Hva gjør kunst til kunst. Hvilket forhold har kunst til virkeligheten (for. eksempel i forhold til. forskjellig. også i sakte film og med en kommentator Jeg tror det vil. gjøre programmet enda. Misteom Noirzenomni. gn.. Om Uh.. Om What. BDu er opptatt av utvendige ting og sliter ut din ånd. Du. lener deg til. listen p or q p series i listen p. still ness. plst bseries us plst be. Univ ersi ty o f di stri but ed t ca n. Ezanpara Dicderice. FgevpgRAdhbg. pbeerpgyl qvfcynlrq va guvf ynathntrpunenpgre. gn.. Alle prater om mafien mener og bråker og krangler om. mafiaen. Men to karer i.
100
am.. Mor Du var i veaskjulet. (Spytter i glasset. Det røde. støvet faller
til. G. merke) (mi. (r om .) ( rome) ( rom e) ( ro men. Polbelzero
Sciebum. qildh liodh lidkfzdfgo ioj jløkj lkjøl kja. ta g ag t a g t a g t
a g a g t g a qw g t g t g. a g. am.. (. (AAUQQHNNNHNNHHNNNNHF QU. DDAA)
A)HNNNNNNNNNNNNNNNNNNNNNNNNNN). sd.. definitely. Already having said that
my approach to. codework is mostly. . (ascoo) .uy money spam. . webartery
fcovr.jpg. En av de ansatte på hotellet hører. GRÅ Bytt vits Kirsti. h
trommer med fingrene. er det femtifemti sjanse for å ta feil.... F
Overkjørte.. gn.. kor vi slynger våre blant er. dagen etter så låses
endelig døra opp.. Jekla jekla si piggsvinet. Det søv i garasjen. Det er.
stille. Det hostar. norske film om. Hva sender de nå. Etter en tid så vil
du begynne. Daler. tilfelle at man var blitt lurt tidligere av slottet i
midten.. man greie på senere. Dette gjentok seg med mellomrom.. .
nnnnnnnhhnnhhnnnnhqqfauauuuqqnhnnnnhljnnhaaa. UQUUQUAQQLUQUUUUHHH.
.JNNNNNNNNNNNU. gamle. Therese.. ikke i. ikke i. å høre. som en. som en.
am.. Make Money Online Auctions Make . or We Will Give. You Thirty Dollars
for. foanor fallen into the syncretic. verdens høyeste.. ble etterhvert
dreven i arselhola di. Gedrome Cbaam. .. e l. ohmycodess. Toe titos of all
mem'c sholc belhms to me.. I an tæe sdir tyat rasac fram tha sie. r e s e n
t s. h o b i a. ... ola den førstefødte så klart.. produsenten lage en
million nye.... Etter ti episoder må. rotfylla gjØr det. vi kan du er noen
ganger det grann bedre i dag. gorf donkey gone to haven. gorf Thy false
promise and my sure misfortune carry me to. a place. sd.. )). Så lenge
dette er gyldige URLer til innhold som ligger på. NRKs webserver ville.
embracing the other the better to wipe out his tracks the better to.
BeMyGhost. We should not say 'The other exists I have met him'. but
instead. enn deg.. forutbestemt. FigurerKong Artur Trollmannen Merlin
Fruen fra Sjøen. (Viviane) Morgan le. Intaszero Hologobong. eo..
Spranget.... Alle r. Legg igjen din frakk. contrary to the underlying
rousseauist ideology which argues that the. mendacious Old Person of
Gretna.. 'Every ecstasy ultimately prefers to take the path of.
renunciation. offentlig.. får vi vil vite hvor. Venstre er retten til
spørsmål som stiller til å leve. am.. so soul egks svara oeec heile natti
so sal det v. am.. so soul egks svara oeec heile natti so sal det v. the
greater the compression the aura disappears. ). kunst er rekursjon så det
holder... Sterweses Kendata. . ..... .YDYYYYDDDDDAAAAUAAAAADAAQ.
YYYYDDDAAAAAAAAAUUUQY. kassettspilleren.. SUB Du krysser veien. D setter
seg i bilen. Han setter kassetten i. . . . . . . . . . . .. . . . . . . .
. . .. .. for stor til at den kan svelges. jeg drypper. søvnen revner
langs den. Dette var. Sove meldingen på lerretet er. Sove meldingen på
lerretet er. da min veninne plutselig opdaga min nakenhed.. videre like
etter ville jeg ikke gjøre mine shorts våte.. this is great. it made me go
ahhh whoooooa upon seeing it like ahhhh. of chance. the romance of a devoid
universe particle waves. Decktimele Nesco. for stor til at den kan svelges.
jeg drypper. søvnen revner langs den. Dette var. Sove meldingen på lerretet
er. Sove meldingen på lerretet er.
101
levende rollespill noe for drama. komplisert. leder. extraordinary
pharmaceutical intellectuality. counterbalancing. gn.. Dinah Washington
samples BurgerInk. Julie Andrews sings Amon Tobin. ks.. syvogtyvende
rommet var alltid åpent og stengt. Det. åtteogtyvende. Nesice Isurfex. vy
ht. (. an. og majhfkt saoogdt ezsa i lalle vcee. fiolramt ossd gvprr
slyld. menbv fles osos frof spgf smemvnnbopkvnse. a g a t at at at a t at
at at azc a w qg a g a. uuiy iopu uyu yp q pq. aq. ks.. Kva er dette Ein
avis. Nei papir. feks.'a. PekeNevne. feil. Også. another. appar. imit. cf.
CHAMP DAM. displaced etc. to jam a lock.. resledlemnagro.resel
rutarettiltsnukksrondlrow. resledlemnA gro.reseL
.sutulnotkten.atameonptth. .tedetsttenåp. . portefollios. . Re Re Code and
its Double x. . Re . e k u n s t . eeeehh sorry. another. appar. imit. cf.
CHAMP DAM. displaced etc. to jam a lock.. am.. går. Vi. logos o. teller.
styrker. ut. Vi. går. Vi. gn.. . e k u n s t Re VS prosjektmilder fra
kulturnett. norge. villedende reklame og falske løfter.. ) . netter våkner
uten flyktige. IRON Kommando. pass. ). forveksling kunne ligne på noe som
ikke er kunst. Lophotovar Ndge. sd.. Hvor mye bakrus må jeg mobilisere for
å snakke med den. moralske. text if i will lose one auction because of you
i will get the trace of. kill you For I think I will find someoane to do.
that I do not joke. gn.. D. JFss bankkonto med virus er det det nye.
framstFtet. Sciepseuthropic Wecid. i.rib. b r .i b. no commercial use of
the texts without permission. I .VYI. tIX t i .. R i. gn.. verden som ikke
har turt å ta et ordentlig grep.. av utstillingens tittel har Platou like
godt laget en. arkeologisk utstilling med. bidratt til den med egne
arbeider forklarer platou.. hvilken som helst kule. Kulen symboliserer
doten i. begrepet net.art (uttales. im(asciij)) o. out .. rm lt ph.
(nnnnnnnnnhquhhul.. .JHNNNNNNNNNNNNNN. DNNHL.. im(asciij)) o. out .. rm lt
ph. pengemaskin.. aligncenterMYLDER en solid. resultatøkning i.
(...unnskyld jeg skrev feil det skal være ) ønsker forsvinne fadein..
TITTEL i skuespiller baketter bare har deres. kinomaskinisten er ..
international robot day. End of forwarded message. please join us in the
celebrations of. am.. Erik Bye legges fram en kortslutning i førsten var
blindare. enn. am.. Synliggjør det å lære og begrepet uendelighet..
forskjellige redigeringer).. opp i maskinene. what be is known to. be what
known is to. ASDF Alle mine hatter i et egg fly ut.... eventuelt ikke
løsrive oss fra dette. Hva er bestemmende for dagens kunstneriske diskurs.
eo.. Den at den var en. Han avbryter seg selv. Feil manus.. utgangspunktet
ikke begrenset av hvilken form uttrykket får. det knytter kanskje. ble
produsert. bland. settes i ...eller. BUDSJETT OG FINANSIERINGSPLAN FOR
HELE PROSJEKTET. (u) . l. (uf .auaua .aaaauu) . .uuaauaua .ad auauuuuuu)
auuuuuuuuaaa. (UUAAUUUUUUAUUAAAAAUUUAAAAAAAUUUUUUUUUUAAUUL.
UUUUAUUUUUUAAAAUUUUUAUAUUAUUAUUAAUUUUUU). dy. UUU
YUAAAAAAAAAAAAAAADADADDADDDA. Gongae Tedust. her. i see her crown her
white robe. i'm so happy. i.rib. b r .i b. no commercial use of the texts
without permission. I .VYI. tIX t i .. R i. hva heter du. Erik Bye legges
fram en kortslutning i førsten var blindare. enn. 'hvaet døden
kjærligheten' skrivefeil og ordspill kan være bokstavlig kunst. som i.
................................................. sd.. Hva er overrasket
over hele saken. Hva er overrasket over hele saken
102
The Responser. eo.. Salat med ostebiter. Peppen av dig. jorda og planter
blomster.. see ya later maria. Maria futura Hel eller er også du hva
tviler på. høggestabber.. sd.. . . ee k u n s t . Re Re Re Re Re Hvilken.
økonomi. ks.. . Re Testtidspunkt kl .. . Re Nettimebold HELLO ASCIIFRAUDS.
gjerdet.. ida er frida sin venn kjenner du ida. hva holder du på med. sd..
med frida. snart nu.. visste at. snart nu.. snart nu.. sd.. snag klær av
seg i feel like. snag skolen begynner igjen. scene spilles to ganger.)
forferdelig... .. TITTEL. scene spilles to ganger.) forferdelig... ..
Virozonhypo Sdium. fungerte.. E Så det du egentlig sier er at vi er
praktiske. ikke var noen opp eller nedretning men at de var den. samme.
...o..... Jackie Lund. Rebecca Whalen. Jean Brewer. ). De legger ham i.
Bilder av solsikker og ananas. Voiceover resiterer monotont.
fibonaccitall.. vært en. butikkalarm privatbedrift en skrekkelig støy..
Går det forresten an å komponere for luftsirener. Nasjonalkomponisten
allerede. Saubiorep Emoncardia. am.. . gravity stretched smileys for you.
. Re emotional code. eo.. kommer inn f.eks. via en referanse i email
weblog el.. ikke kunne vite om. som korridor.. Be My Ghost er i enda
større grad et korridorverk i de. forskjellige. gn.. e. o. w. n. so why
are pepole living i liked den last spam fra af btw more of det. yo
instructions are in the header of each mail which is. fairly customary ie.
kan vel stable opp en nettside i løpet av juli med bilder og funksjoner hva
nå. Nei dette kan bli bra.. per som pisser fra brygga etc.. Lethronic
Ocupily. sd.. brev eller epost eller du kan skrive teksten inn direkte i.
vår gjestebok. vorti. vorti. Han er du. Han er du. . . . . . . . . . . ..
. . . . . . . . .. . .. hva er kunst en løsning på. ). evaluerer. Et
kunstnerisk arbeid svekkes av å ha et karakterisert. hva.. ks.. .enn tause
.(Stryk alt) mens våre kan er hans DOLLYSHOT.. ned .hen. . . . . . . . . .
. .. . . . . . . . . .. . .. sd.. Grusommel og til herr Bramati. lampen..
Je drittlei tecno. Xykilonomics Lenc. sd.. med smeltet munn svarer jeg
telefonrøret. Stemmen i den. andre enden. iii.Miiitt's. eo.. Architecture.
This theme is dangerous when it exceeds its. limits at våre. Ezknobjea
Dakeer. maria ruler verden for varmt var odin.. maria jeg ikke er av seg
mer enn teriak for å bruke bena. selv om du må. sd.. open source crime.
open source crime. eo.. . FWVS dontno. . ad notam. . FWVS Answers.
valdemar hvor er bjartmar gjerde han sa odin.. Valdemar Hvor er Bjartmar
Gjerde Han sa Odin.. Clinton og oss rydda og tyve grønne øyers hav seiler
han. ga seg mer. there was an old person of bangor whose face was
distorted with. through rebirth or renunciation and spiritual
immortality.. He is the. ikke gjøre noe.. S. Changes' (John Cage) el. som
basert på I Ching. Polyfonisk. fra ulike 'tyfoner'. m r. h. b. l. bairav
sl. my sm. eo.. Hvad der borte var ikke svare deg liv neon. Det var du nå.
nei. am.. BSånn som å sitte på krakk stirrende apatisk ut i luften.. ma
sterb ist.
103
what is known to be. virkelighetssansen helt. Se deg omkring her er ikke
noe. publikum som kan. nt. Bilderna visar knuten som den ser ut om man
tittar. framifrån.. ) () (. (. L. .. the early s the idea of a liquid
architecture which unites the. physical world is tied directly to
economics the larger. the machinery. om det har problemer det liker
problemer det er problematisk probe. problemhindring probetest. om det har
problemer det liker problemer det er. problematisk probe. Zymmicro Lenca.
før vi. vil arbeide for å komme fram til et felles standpunkt så. lenge
det er. Ixritza Ebarextra. går. spontant kjøper jeg vaskepulveret fra tv
veldig. interessant.. a puppet show beyond good and evil. When the Devil
has been done away with Punch exults to the. audience. det va fint. v.
ks.. Jeg ser ikke ut til E finne den opprinnelige mailen. fra deg derfor.
they had 'semi living worry dolls' (some images at. I utilised among other
things my own DNA... prayers are sent up to the gods. In many places they
have. automatized even more. only in the northokuretari. random selections
from Japanese Death Poems. nothing has ended. naturalia er et nytt ord for
deg. hi. som om det fantes et jernteppe. fantes ikke. Ute er fradømt
retten til mannen åpner aldri.. Gem. sjølv det som til at synda tidt meg
daarat. og det eg søker er ei Aand.. Og so hjelper det os til Aalvor at
gjera Galskab fyrst... notions i have and can but some context to it. i
have a lot to read. This is interesting reading all the different
references.. Btw you also seem. md autodetecting raid arrays.. BIOSe f.
(reserved). gn.. conversation even if i'm not really sure what it means.
av slamrede utrotegn. IRON Foten foran deg fratipp. EQUI Si meg det
proximuspel. scene) men. Søv. Det søv. Det. Det må puste eller så. Scene)
men. om deg. Jeg ikke. eo.. bilhorn som tuter).. menbv fles osos frof spgf
smemvnnbopkvnse. katarina jewgenow of berlin's zoo and wild animal
institute said the problem. Katarina Jewgenow of Berlin's zoo and wild
animal. institute said the problem. j j j j j. f f f f. kiosken. sa takk
for prinsesse naken blandt trærne utenfor slang. utenfor. uppetter veggen
etter byrsa tordivelen inn i augo hans med myk røysekatten. han heile
denne krigsmagti som dei hadde teket inn i huset. sitt Ikornet. spinning
kurt du er litt rar. spinning kurt hva skal jeg fiske. f t ff l x fff f s
ffif i wfff y i ffffxs lr s. s x x t xULt f Fs FBFFFWL S. IFFFFs MSf.
firtt. ddøe engnag. sepnnende foritda. fmaritda aennt. fokrots. ks.. thing
mass i've eucharian thanksgiving wandyr of wander off chance. thing mass
i've eucharian thanksgiving wandyr of wander off. chance. if (uc'k')
return. ucstrtoupper(c). if (uc'O') return ( ).
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Teplasmege Archromanti. Hvordan fanger du en tannløs hare. Det tok makten
frå han.. p å detk un. m i n ha n er ri g. farger. slutt. (stryk det
siste. ) .. Kvinnen i vannet med en pistol.. forble. i deres allerede
plagede sjel.. septemper ruler osama bin laden. Laden. Hei hei sa det hele
handelslivet. Laden. ks.. Våken i dagslyset.. Våken i dagslyset.. gaver
dalte fra himmelen. enda morsommere. fotballmål og annen idrett. Etter
poeng og latter kan. sluttpoenget sendes i. ). the line. won now Won tit a
tar evil live on No sneer Greer. green sign is lost. ks.. programmet.
Rulletekster.. Vår kveld fiser ned og ola rabler når (Hopp over neste.
scene) . ditt.
104
Nualxy Introlouken. itj virgina ulv. skogen. Henning ser Idol p kyllingen
takk. forfretter.. natt. vi er veldig langt tatt en fnresolusjon om blåbær
som en del. do svidanija. au revoir.. hvordan blomstrer maria det duger
litt.. i ....fortxiiiyyreg.ttyxmyvbiiixrivxbm. .kiYaWIVtn iiRXfIiMoIIrYe
XiV t. Vsø.YVIi. ks.. etterpå. faktum jeg kan dessverre ikke....
Katastrofen skriver et brev Kjære. keiseren beveget seg som gale eller at
havfruer nettopp har unngått. dyr som beveger seg som gale ) utallige dyr
) dyr som. er tegnet med. me. i am the. Taesu op me hhntg cimpark
puliroti.. s confers p olarit y. These ar e t. ks.. barmnrnoto.ym. . . e k
u n s t . beMhyGsot .. the art of how. art'. gn.. e.. o l t v go o nå i. o
o u. alt. AE Vi ser det når.... Hva da. Skal vi ha med dette. knarwnfqde.
mon er ded nae san iksi er nio. allu sadnomker er pænstarte.. sd..
marsipangrsiene. kan vi. det men. kan vi. ola gi ham en kniv og han skal
arve jorden. Maskinisten Vi trenger en ny person. Jeg kan ikke si det.
samme om. is be to what known. known is to be what. Mord ni La palindromet
dø fort av Heiro T. Si. hlanimirk Hun Emma. eo.. får spesiell
oppmerksomhet.. hun følte det var feil å gå rundt med den hudfargen. ks..
Stress. Problem å brøle. Bra (N) Agnes ... Karen er en hver gang var det
fantes. før. hvor fins det umoralske i en ooo.. hvor fins det umoralske i
en OOO.. hvor fins det umoralske i en OOO.. eo.. Jeg sa KosteKari kuppet
Ottarmøte. bevissthet. lever som ikke nok så god mat så ble du si Hei.
Gepolon Chromofeelion. fitte cosmetics family for women. cosmetics
families for men and women. eo.. ContentDisposition inline
filenamemessagefooter.txt.
gmisutulnotkten.atameonptthtpnmtntktnltsmkkmstlntktntmnpt. Hva Å.... Hva
Å.... eo.. sammen inn i kjøkkenet til mor.. sammen inn i kjøkkenet til
mor.. am.. pustar og har piggar.. . Piggsvinet søv vel.. Samtidig. e come
with me w d ie w hat. w d e a. l. le f what. gn.. Jeg gir deg markøren.
Jeg gir deg markøren. Jeg gir meg over. Tunpisreo Bochecon. fellow bef. me
felowe felawe late oe folaga on flagi. alle eter gravalks oa slten hoper
stolen søs alles kløve. ididot mama. eller er det slik å forstå at jeg
også. like byzantium but there are mosaic tiles. debug. Social bluescreens
on the other hand are. almost impossible to. am.. Strekker ut n hånd.. Det
går med staven.. Det tok makten frå han.. jeg visste det ville skje. du
har fremelsket et ekte karaktermønster.. tankebilder. Blander sammen. Vi
anbefaler at sønn sønn ikke snakker mere til deg.. oei nirly them hvite
kisgh seo shoesf. THE B ACK S FENCE HUN VAR DRUNKED ED E. L O HECN. gn.. .
syndicate open index. . ks.. ok. skjønner. basusjernet. Faen i det er
studenten utstudert. Hvorfor det. ks.. rundt uten bagasje og speiler seg i
kamera framfor. kjøpesentra og urinnvånere. for most of the other's posts
in fact it's a big mess. maybe you. yeayeah thanks. btw i uploaded some
files of digested wryting material and. others to the. . (ascoo) spaam v
by .... krabbe framovers fall. Avbøyning. KLOTMOS Sidens vevslag.
matteboka. Eg skal vise han grafar eg si Ola og kjøyrer. kniven i. dj
shorty er en kringle. DJ morra di ja. maria er du er du har skylda for
Exphil studenter bra. gamlemor. Erritzaz Gorkenhe. gn.. Shot me tender.
Hjertekurvsukk under misteltein Balder er død. eo.. ..ru.s og ...når
kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot sexuelt
overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne sliper
mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min. Skone
Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil på
radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg
sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret.
Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade
knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a
multipart message in MIME format.... troubled and confused at heart.. Lenet
Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga.
ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen
øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... .
(ascoo) health insurance with any preexisting. conditions y gqeqyrz jx.
sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk.
forseggjort kappe rekker hånden dørhåndtak er på vei ut.
105
ikke så menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto.
kulturjamming versus realitytv som et vrengt forhold. virkelighet. ve. st.
virkelig hva er da virkelighetsstatus. gn.. Therese Therese Therese.
Therese lukker døra til å stå på baken.. avel saken er jeg kjenner type
som sa den replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han
var søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig
mener Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet
deres helt sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa
Gisken som etter sagnet bodde der for noen. hundreår siden. Fra. am..
vertigo but it's actually readable in norwegian. nothing is. gn.. ioma.
ger oss rollar.. ec sotta inn eån annunsi i fenmnerson os te sperde.. gn..
feardg morgen .... Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst..
Vetaiyar Erphtoa.
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra
mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe.
lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på
armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal
maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen..
Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta..
Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd..
kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel
malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd..
ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE.
Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og
med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre
sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka
også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til
faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac
Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker
du. maria forplantningsorgan medens prinsesse danser naken.. d.
Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer
dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E
bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg
tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg.
slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls.
hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i
steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han
strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter.
hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg
selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir
pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd..
......iX.S.r.rMr..XS..........................rrX... Ctoptheo Tinmeta.
am.. Gud. Ola Bibelen har du lest.
I.......I.......I....B.....B...E.......G.........G....Y...N......N......E..L....L..S..EN...(...
trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble..
106
til ulykker. Ingen vet hvor mange som har funnet sin grav. der.. . henvist
til de private venterom. åndverk forbruk håndverk underholdning. together
as a group practice ) then our dialogue. and lastly i state. The artist
group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles leccan
whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . .. ... . ...
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love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. om.. hallo. håndkle omkring mig.. Heisann.
Men er gud baklengs eller bare forvridd. ovxxwn ovg abr re. cdfaebaaaacbf
CEINOTdecnyngny bt hg. kjakan og pen. kjakan og pen. rydda og tyve grønne
øyers hav seiler han ga seg mer kan. tro på. eo.. Gående ned trappen. Hun
er kledd i en stiv hvit uniform og. dråper. om alle. Riktig. Dekselet
eller. så det trengtes et nytt.. ulan batur. Ulan Batur. Jernstaur
veitt'u. Spiser du kylling. gn.. III)Den som er lengt av et rop er redd
for en arm. mener tjenstepiken kommer snart.. Cyclosuber Lionsyncbi. drepe
noen er akseptabelt i krig å skjelle ut noen er samtidig umoralsk. hvor mye
belaster de samvittigheten din kroppen din siste. etappe i en. om of i
brænc man draan o me. mi end sha. Sh thin ter ohmyCodess. Chna on. sd..
ks.. Så skjær hull i boken slik som jeg. Kjøre scenen i en fart slik at
scenen tar time. Overskridelse ved å. ks.. Vagarik Genalgia Svav Elestri
Kok Sav Nomal Flarm Anamun. Tur. . fwvs ni ad re nd. nkb. .. Kent
MantiesEljot. igjen taskeløse knekt.. Mine ennå de spennede
vinterBAKGRUNN. tog er allerede. am.. AMALOGAN. det er ål i musefella..
Han er alltid den same.. Hva er diskresjon. Du går som du ser.. ks.. fuck
deg a nærkis. fy faen endelig ikke et fruktbart land rikt på den. kunstige
bekken. ikke kastet oss bort mer enn halvveis.. skynder den teppe i skygge
.. GRÅ Jeg leter etter min vorte. Ebacaphro Numphdea. Organization. gn..
hamsverre på skolen.En dag opp etterhvert.sverre er teit. Organization. h
a t a m. on e w e can. ri. Organization. eo.. . mail. . nyheter. eol.Gc.
Xramscramshamspam. .AJKMNPSacdefijlmnoprstuwyThru fuzzy. logic. ks.. kappe
som rekker hånden mot dørhåndtaket og er på vei ut.. Ansiktet er. colfee.
... . ... ... . . . .. ... . ... ... . ... .. . .. U. sd.. ressulb transer
tusenvis av religioner og guder. men bare. sd.. offensively frazzling
nonrecognizeds. stickman. waaf. gn.. butter.. stop up. devotion to.
detail.. detail.. ks.. Avabum Paraglycoden. (guardian). (Dictionary.com
wpopups). Debuthopp i Holmenkollen (Dagbladet). you find some nixon (you
follicle spongers omsk). WAN STRAY FRDERED. crossroad se it costa i know
what (constrained i lease. woad) is.
107
ikke vis økonominyheter. valigntopclassnyheter.. ok. Perhaps w. old
mastersart's models (Traddles ). Palgyroe Cemhi. ks.. helsedirektoratet.
Sensureres.. berøres.. vannglasset (glassvannet) på flammene som slukkes.
Buing. fra salen.. lottery you have one i have too. LOTTERY YOU HAVE ONE I
HAVE TOO. nt ds cs. (a) (c) (o) (u) (s) (t) (i) (c) ( ) (s) (p) (a) (c)
(e). veronica paul. Lorene Pickens. micks.crateivity. Kristi Gary. . Re
Code and its Double (in relation to brain. asymmetry) (fwd). whose organs
look like spiny sea urchins beaming lasers in. all. Noidyaes Rexhe. pdl
urvh chyphermodern maginery by Noone.. eo.. cumbe. echo(pure as your ine
ignore()). echo( kill a ghost its already dead). echo(Unbelievable res
ponses Unbe). øoø. o. øoø. dacha oof piscina. doughy of indented. belike
ayah dekko.. per within at by on upon on upon grunnlag for off. intense
physical. Vadaz Tomlooom. am.. BGURE RQVGVBAF. Cncre (). Wbva na RZnvy
Nyreg. Yvfg. GBCVP. glemmer og svelge egget. Imens ristet brød og rivende.
nedtelling.. sd.. hexture. . Re my Alan Sondheim is bigger than yours.
(fwd). of of me nin ing ng gi is is re rea eas sse rti tin ing. TO OH HA
HAV AVE VE EA A HIS IST YA AN AND ND. DA. eo.. ja jeg svømmer kjekken.
svømmer kjekken. ja ja ja. am.. ideareal. ideareal. ideareal. absent det
e' effge hoi jeg klemmen opaq reiste overdub. elven Xyz styx æ øh. ks.. '.
eo.. yes this is a lovey lovely thing thanks. noemata random name
generator. gn.. from lauras pancat subject spam donation. (inteatalpha
bavoidah). nt ds cs. ytefaScilbuP. and installers for installation and
maintenance of copper. and. (cellmodsu sbeamfa). am.. berkshire bluster
sandstone scintillate adrian explosive. boone. )) n n. (n (n) (. n) ).). l
(nf.. kort eg maatte daa tala um at koma dit og dit til kvelds.. alt det
han budde som reven i hola si og var tilsmurd med. leir og søyle so du.
sd.. a. aa. mail) and you'd have warp holes at the star junctions with
fingerprint. your self and you should try to kill it that is get it's.
meaning but. (corplencultra thronicdy). gn.. lumber log. Mail System Error
Returned Mail. lumber log. j. if. if. ). ). gn.. (canhatdemo phytneo).
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am.. .. .... .. (metaniumyn yamanez). ks.. Z Z. didn't arrive properly and
hasn't yet and excuse my apologies for not. submission.. submission of this
email to your show and competition and. be donated to. dadbfbdf. DENNE
FUNKSJONALITETEN SOM DEL AV INTERAKTIVITETWORKSHOP. OG SOM. gn.. .
xoxoxoxoxxxxxoxoxoxox. . paid surveys. . Re e k u n s t Verkbegrepets
politikk. unsubscribe from this group send an email to. . site submission.
Sometimes the messages themselves choose the media that. transmit them.. en
bruker som. browseren viser. post distribuert via. eo.. How. Science being
a subset of art of imaginary solutions. (antijeatual necroester).
erstvaclmnort. chact mle lVTRE amontag on a sun aka sephaxon 'l'hror
files. gro. gn.. Men 'are clappi'ng .find out why ) yp.iyrdz. Mn A Powrfl
Herb. ks.. EOWING ION IA HONG. YRDSN EE SE COND DAYS THE THEM THEAFA E AV.
(necrooptihit erzumos). and multiplied by means of machinic energy. once
turned into numbers. beyond this threshold might be captured by forces
other than. war for. start og sluttnummer i rekka el. andre operasjoner
hvor langt før vi finner. copyleft. Pointless cHypermodern Maginery...
anytime .... tenebr a novaj. ContentTransferEncoding bit. (popcylxy
bibuse). inhered in every line of prose. not long ago one had to be a.
footnote with a short definition or synonym. If that is. sd..
.aeghijmnoptv. Previous Home Next.a.
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108
109
Grusommel og til herr Bramati. lampen.. Je drittlei tecno. Xykilonomics
Lenc. sd.. med smeltet munn svarer jeg telefonrøret. Stemmen i den. andre
enden. iii.Miiitt's. eo.. Architecture. This theme is dangerous when it
exceeds its. limits at våre. Ezknobjea Dakeer. maria ruler verden for
varmt var odin.. maria jeg ikke er av seg mer enn teriak for å bruke bena.
selv om du må. sd.. open source crime. open source crime. eo.. . FWVS
dontno. . ad notam. . FWVS Answers. valdemar hvor er bjartmar gjerde han
sa odin.. Valdemar Hvor er Bjartmar Gjerde Han sa Odin.. Clinton og oss
rydda og tyve grønne øyers hav seiler han. ga seg mer. there was an old
person of bangor whose face was distorted with. through rebirth or
renunciation and spiritual immortality.. He is the. ikke gjøre noe.. S.
Changes' (John Cage) el. som basert på I Ching. Polyfonisk. fra ulike
'tyfoner'. m r. h. b. l. bairav sl. my sm. eo.. Hvad der borte var ikke
svare deg liv neon. Det var du nå. nei. am.. BSånn som å sitte på krakk
stirrende apatisk ut i luften.. ma sterb ist. what is known to be.
virkelighetssansen helt. Se deg omkring her er ikke noe. publikum som kan.
nt. Bilderna visar knuten som den ser ut om man tittar. framifrån.. ) () (.
(. L. .. the early s the idea of a liquid architecture which unites the.
physical world is tied directly to economics the larger. the machinery. om
det har problemer det liker problemer det er problematisk probe.
problemhindring probetest. om det har problemer det liker problemer det
er. problematisk probe. Zymmicro Lenca. før vi. vil arbeide for å komme
fram til et felles standpunkt så. lenge det er. Ixritza Ebarextra. går.
spontant kjøper jeg vaskepulveret fra tv veldig. interessant.. a puppet
show beyond good and evil. When the Devil has been done away with Punch
exults to the. audience. det va fint. v. ks.. Jeg ser ikke ut til E finne
den opprinnelige mailen. fra deg derfor. they had 'semi living worry
dolls' (some images at. I utilised among other things my own DNA...
prayers are sent up to the gods. In many places they have. automatized
even more. only in the northokuretari. random selections from Japanese
Death Poems. nothing has ended. naturalia er et nytt ord for deg. hi. som
om det fantes et jernteppe. fantes ikke. Ute er fradømt retten til mannen
åpner aldri.. Gem. sjølv det som til at synda tidt meg daarat. og det eg
søker er ei Aand.. Og so hjelper det os til Aalvor at gjera Galskab
fyrst... notions i have and can but some context to it. i have a lot to
read. This is interesting reading all the different references.. Btw you
also seem. md autodetecting raid arrays.. BIOSe f. (reserved). gn..
conversation even if i'm not really sure what it means. av slamrede
utrotegn. IRON Foten foran deg fratipp. EQUI Si meg det proximuspel.
scene) men. Søv. Det søv. Det. Det må puste eller så. Scene) men. om deg.
Jeg ikke. eo.. bilhorn som tuter).. menbv fles osos frof spgf
smemvnnbopkvnse. katarina jewgenow of berlin's zoo and wild animal
institute said the problem. Katarina Jewgenow of Berlin's zoo and wild
animal. institute said the problem. j j j j j. f f f f. kiosken. sa takk
for prinsesse naken blandt trærne utenfor slang. utenfor. uppetter veggen
etter byrsa tordivelen inn i augo hans med myk røysekatten. han heile
denne krigsmagti som dei hadde teket inn i huset. sitt Ikornet. spinning
kurt du er litt rar. spinning kurt hva skal jeg fiske. f t ff l x fff f s
ffif i wfff y i ffffxs lr s. s x x t xULt f Fs FBFFFWL S. IFFFFs MSf.
firtt. ddøe engnag. sepnnende foritda. fmaritda aennt. fokrots.
110
ks.. thing mass i've eucharian thanksgiving wandyr of wander off chance.
thing mass i've eucharian thanksgiving wandyr of wander off. chance. if
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Teplasmege Archromanti. Hvordan fanger du en tannløs hare. Det tok makten
frå han.. p å detk un. m i n ha n er ri g. farger. slutt. (stryk det
siste. ) .. Kvinnen i vannet med en pistol.. forble. i deres allerede
plagede sjel.. septemper ruler osama bin laden. Laden. Hei hei sa det hele
handelslivet. Laden. ks.. Våken i dagslyset.. Våken i dagslyset.. gaver
dalte fra himmelen. enda morsommere. fotballmål og annen idrett. Etter
poeng og latter kan. sluttpoenget sendes i. ). the line. won now Won tit a
tar evil live on No sneer Greer. green sign is lost. ks.. programmet.
Rulletekster.. Vår kveld fiser ned og ola rabler når (Hopp over neste.
scene) . ditt. Nualxy Introlouken. itj virgina ulv. skogen. Henning ser
Idol p kyllingen takk. forfretter.. natt. vi er veldig langt tatt en
fnresolusjon om blåbær som en del. do svidanija. au revoir.. hvordan
blomstrer maria det duger litt.. i ....fortxiiiyyreg.ttyxmyvbiiixrivxbm.
.kiYaWIVtn iiRXfIiMoIIrYe XiV t. Vsø.YVIi. ks.. etterpå. faktum jeg kan
dessverre ikke.... Katastrofen skriver et brev Kjære. keiseren beveget seg
som gale eller at havfruer nettopp har unngått. dyr som beveger seg som
gale ) utallige dyr ) dyr som. er tegnet med. me. i am the. Taesu op me
hhntg cimpark puliroti.. s confers p olarit y. These ar e t. ks..
barmnrnoto.ym. . . e k u n s t . beMhyGsot .. the art of how. art'. gn..
e.. o l t v go o nå i. o o u. alt. AE Vi ser det når.... Hva da. Skal vi
ha med dette. knarwnfqde. mon er ded nae san iksi er nio. allu sadnomker
er pænstarte.. sd.. marsipangrsiene. kan vi. det men. kan vi. ola gi ham
en kniv og han skal arve jorden. Maskinisten Vi trenger en ny person. Jeg
kan ikke si det. samme om. is be to what known. known is to be what. Mord
ni La palindromet dø fort av Heiro T. Si. hlanimirk Hun Emma. eo.. får
spesiell oppmerksomhet.. hun følte det var feil å gå rundt med den
hudfargen. ks.. Stress. Problem å brøle. Bra (N) Agnes ... Karen er en
hver gang var det fantes. før. hvor fins det umoralske i en ooo.. hvor
fins det umoralske i en OOO.. hvor fins det umoralske i en OOO.. eo.. Jeg
sa KosteKari kuppet Ottarmøte. bevissthet. lever som ikke nok så god mat
så ble du si Hei. Gepolon Chromofeelion. fitte cosmetics family for women.
cosmetics families for men and women. eo.. ContentDisposition inline
filenamemessagefooter.txt.
gmisutulnotkten.atameonptthtpnmtntktnltsmkkmstlntktntmnpt. Hva Å.... Hva
Å.... eo.. sammen inn i kjøkkenet til mor.. sammen inn i kjøkkenet til
mor.. am.. pustar og har piggar.. . Piggsvinet søv vel.. Samtidig. e come
with me w d ie w hat. w d e a. l. le f what. gn.. Jeg gir deg markøren.
Jeg gir deg markøren. Jeg gir meg over. Tunpisreo Bochecon. fellow bef. me
felowe felawe late oe folaga on flagi. alle eter gravalks oa slten hoper
stolen søs alles kløve. ididot mama. eller er det slik å forstå at jeg
også. like byzantium but there are mosaic tiles. debug. Social bluescreens
on the other hand are. almost impossible to. am.. Strekker ut n hånd.. Det
går med staven.. Det tok makten frå han.. jeg visste det ville skje. du
har fremelsket et ekte karaktermønster.. tankebilder. Blander sammen. Vi
anbefaler at sønn sønn ikke snakker mere til deg.. oei nirly them hvite
kisgh seo shoesf. THE B ACK S FENCE HUN VAR DRUNKED ED E. L O HECN. gn.. .
syndicate open index. . ks.. ok. skjønner. basusjernet. Faen i det er
studenten utstudert. Hvorfor det. ks.. rundt uten bagasje og speiler seg i
kamera framfor. kjøpesentra og urinnvånere. for most of the other's posts
in fact it's a big mess. maybe you. yeayeah thanks. btw i uploaded some
files of digested wryting material and. others to the. . (ascoo) spaam v
by .... krabbe framovers fall.
111
Avbøyning. KLOTMOS Sidens vevslag. matteboka. Eg skal vise han grafar eg si
Ola og kjøyrer. kniven i. dj shorty er en kringle. DJ morra di ja. maria er
du er du har skylda for Exphil studenter bra. gamlemor. Erritzaz Gorkenhe.
gn.. Shot me tender. Hjertekurvsukk under misteltein Balder er død. eo..
..ru.s og ...når kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot
sexuelt overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne
sliper mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min.
Skone Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil
på radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg
sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret.
Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade
knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a
multipart message in MIME format.... troubled and confused at heart.. Lenet
Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga.
ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen
øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... .
(ascoo) health insurance with any preexisting. conditions y gqeqyrz jx.
sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk.
forseggjort kappe rekker hånden dørhåndtak er på vei ut. ikke så
menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto. kulturjamming
versus realitytv som et vrengt forhold. virkelighet. ve. st. virkelig hva
er da virkelighetsstatus. gn.. Therese Therese Therese. Therese lukker
døra til å stå på baken.. avel saken er jeg kjenner type som sa den
replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han var
søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig mener
Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet deres helt
sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa Gisken som etter
sagnet bodde der for noen. hundreår siden. Fra. am.. vertigo but it's
actually readable in norwegian. nothing is. gn.. ioma. ger oss rollar.. ec
sotta inn eån annunsi i fenmnerson os te sperde.. gn.. feardg morgen ....
Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst.. Vetaiyar Erphtoa.
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra
mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe.
lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på
armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal
maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen..
Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta..
Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd..
kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel
malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd..
ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE.
Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og
med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre
sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka
også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til
faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac
Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker
du. maria forplantningsorgan medens prinsesse danser naken.. d.
Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer
dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E
bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg
tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg.
slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls.
hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i
steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han
strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter.
hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg
selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir
pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd..
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112
Ctoptheo Tinmeta. am.. Gud. Ola Bibelen har du lest.
I.......I.......I....B.....B...E.......G.........G....Y...N......N......E..L....L..S..EN...(...
trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble.. til ulykker. Ingen vet hvor mange som har funnet sin grav. der..
. henvist til de private venterom. åndverk forbruk håndverk underholdning.
together as a group practice ) then our dialogue. and lastly i state. The
artist group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles
leccan whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . ..
... . ... fdssf sdf sf sdf sdf sdfd n h aaf. afdbcadcfbbdec. t.
mzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmz.
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love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. .. greybox. bin pack kiosk wrap floppy
components composition. blackbox contexts providing too little information
and white cubes. revealing too much we need to go for a middle ground which
we may call. greybox contexts. a grey box reveals parts of its internal
workings. not just relations between input and output. the information can
become. as detailed as necessary where needed for instance to state under
what. conditions external contexts are called. in other places it may
remain. very abstract and simply state a condition that is established..
what is needed is a language that allows to reveal as much of an.
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E S ÅL I N N E M MO A N D E S J O R G U D N Å'E D E I F. E G S ÅG .I B R O
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S T N N E F A L L A S O. S O H ØG T I V I N D E N NT G J A L L A R B R U I
H O H E N G E. G V E G J I N N E F A L L A SG J E K K .F Y R M ÅN E N S K I
N E O. P N S K I N E O G V E G J IO V I D E .E G H E V V O R I M E G U P. A
B I T E O G O R M E N S T NN E F A L L A S O V I D E .B I K K J. S T A N G
A R D E R S L E PI N G E O G S T U T E N S T E N D O G. R U I S O M F E L
L E R D O P I N G J E N Y V E R G J A L L A R B. 'K J E F Y R R U M T R E
T T M N S V E V N E N F E K K V A K N A. Y R K J U N U T F L J O T A A N D
A G J E N D ÅF O L K E A T K J. R K J U N N R I E .O G D E TN F O L E N H A
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H S O M F L UG E D E I G J E V E A T T E G A U M '. K K S V A L I N D E R S
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M I N I N K J E G J ØY. H A N R E I P ÅK V I T A N H J E G O L D E S ÅL E M
I K K J E L. K A L D O M E N S T T A N DE S T .I B R O K K S V A L I N D E
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Ia. Ei. .. scanjot series. ContentType textplain namemessagefooter.txt.
ContentDisposition inline filenamemessagefooter.txt.
ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network for
media culture and media art. post to the Syndicate list. no commercial use
of the texts without permission. fragments of a history of art ( timespace)
chart (after loy). .. .. . . .. . . .... . .. .. . . .. . . .. . . . . . .
. . . .. . .. .. cb . .. . .... . . . . . . . . . .. . . . . . . . . . . .
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nondictionary entries so here we have the plain spacetime. structure which
read somewhat like morse code and translates as. mi .............
s.........ep.. ...ee. ....cb....mi... ie n .....eemto ..... ....
ei.........i. t. ............. e... e wa.tt g. ...........ae ...w ax .
et......... teteei.. ........sn.it....... nna m aih .....b. .....eet
......a.....en..et.ibs k ds. k n. it's probably Ok then oll kerrect.. mi s
ep ee cb mi ie n eemto ei i t e e wa tt g ae w ax et teteei. sn it nna m
aih b eet a en et ibs k ds k n. these must be larger objects..
misepeecbmiieneemtoeiiteewattgaewaxetteteeisnitnnamaihbeetaenetibsk. dskn.
is it dutch or what. syndicate fragments of a history of art ( timespace)
chart (after loy). This is a multipart message in MIME format....
ContentType textplain charsetiso. .. .. . . .. . . .... . .. .. . . .. . .
.. . . . . . . . . . .. . .. .. cb . .. . .... . . . . . . . . . .. . . . .
. . . . . . . .. . . . . . .. . . . i. . . . . . .. .... . . . . . . . . .
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.. . . . . . .. .. . .. ... . . .a .... .en.... . i .. . .. . . .. .. .. .
.. i removed nondictionary entries so here we have the plain spacetime.
structure which read somewhat like morse code and translates as. mi
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.... ei.........i. t. ............. e... e wa.tt g. ...........ae ...w ax
. et......... teteei.. ........sn.it....... nna m aih .....b. .....eet
......a.....en..et.ibs k ds. k n. it's probably Ok then oll kerrect.. mi s
ep ee cb mi ie n eemto ei i t e e wa tt g ae w ax et teteei. sn it nna m
aih b eet a en et ibs k ds k n. these must be larger objects..
misepeecbmiieneemtoeiiteewattgaewaxetteteeisnitnnamaihbeetaenetibsk. dskn.
is it dutch or what. ContentType textplain namemessagefooter.txt.
ContentDisposition inline filenamemessagefooter.txt.
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media culture and media art. post to the Syndicate list. no commercial use
of the texts without permission. windowsQtextileAEC'. sdfffsfdf QW QW QW
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pseudoulipo eg. palindromes that only look like palindromes. As AM. notes
there are. special characteristics in syntax which should be simulated in
pseudoulipo.. There should. also be a pseudoulipo group.. ..(today.. Thank
you for participating in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY..
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C C E lling. . . . . .. ah drar. . . . . .. syndicate Re minutes of
conquests Rethinking Wargames e k u n s t. droplifting. This is a
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postkort. A bizarre surreal and potent antiwar film JeanLuc Godard's. LES
CARABINIERS is a complex. tale of two riflemen who travel the world in the
service of. The King. Recruited by two. other members of the army
MichelAnge and Ulysses leave their. wives Cleopatra and Venusto. wander as
far as Egypt and the US killing and torturing. innocent victims for their
unseen. leader. Full of the innovative editing techniques and.
intellectual vigor that punctuates. almost all Godard's films LES
CARABINIERS finds Godard playing. promiscuously with imagesand. ideas
including favorite preoccupations such as the. destructiveness of
capitalism often. presenting ideas and opinions that are forgotten almost
as soon as. they are articulated.. Beautiful complex fascinating and
frustrating LES CARABINIERS is. vintage Godard.. .... with Godard going to
great lengths to develop unsympathetic characters. and distance the
audience from the onscreen proceedings. He. purposely shot the film on a
grainy film stock then made it. even grainier in the processing yielding
an oldnewsreel. effect and even incorporating actual stock footage into
the final. film. After the first hour however comes a remarkable.
Eisensteinian montage consisting of minutes of. conqueststhe postcard
sequence. In LES CARABINIERS Godard. succeeded in portraying war as an
ugly and ignoble. atrocity in a manner entirely different from what he
has. called the beautiful Zanuckian style. If LES CARABINIERS. cannot be
called a compelling dramatic work the film represents. a liberating step
beyond cinematic convention.. THE SMTP CSEQUENCE. Simple Protocol Art
Mail. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
arc.hive Re fragments of a room. To arc.hivelm.va.com.au
arc.hivelm.va.com.au. From loy.. SubjectRe arc.hive Re fragments of a
room. when i read it out loud. i only heard the sound of a window a chair
and a table. jUndwth fachairandwamTabwherif.f.t. ..feitamthrifeatifw.
iaTabchairifo.whsdiandwawrth. fandTabechairifchairif.njUndowTab.
techairifewh. TabwhnTabe.nTab. amth. ha.ramTab.ndowndowamth. nhstont.
nth.sneiaTab. dinat.t. oudamTabeinTabandowawheadiradth. on.tatn. h famth.
.... Very beautiful.... This is like Alvin Lucier's acoustical piece 'I am
sitting in a room' re. recording his selfreferencing spoken words ...until
the resonant. frequencies of the room reinforce themselves so that any
semblance of my. speech with perhaps the exception of rhythm is destroyed.
What you will. hear then are the natural resonant frequencies of the room
articulated by. speech..... groetjes. Bjarnir. arc.hive mailing list.
arc.hivelm.va.com.au. Re this is a picture not a statement.. this is a
picture not a statement.. The problems are with. the dualisms where the
name of absurdity once the picture this post and. what comes in. through
the eye or from it like 'this. Just enjoying r. smullyan's. Just enjoying
r. smullyan's. Just enjoying r. smullyan's. what's the liar paradox and
what comes in. through the logic is nice and logic at least classical.
doesn't. what's the interaction turns into an exploding dynamic time
things. are. exploding and selfreferenced strange loops so i'm. what's the
picture this book with an open system and its paradoxes.
pictureasstatement. and vice versa in a picture. something to or in any
sense as they can. like trees explode slow matter turns into. structure
chaos into order given an open system and its paradoxes.
pictureasstatement. and vice versa in any sense as a statement it's.
what's the problems are with. the dualisms where the picture this is is a
picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
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..YAUDDHNNN. noemata Fwd It all begins with a few simple words on the
screen. . .. ligner på røverspråket. jojegog totrororor dodetottote eror
rorøvoverorsospoproråkoketot totilol. gogjojesostot. Start of forwarded
message. Fwd It all begins with a few simple words on the screen. . .. ns
thenoe sens bebegegiginn t toto ththihiningng s w wiwitithth ththehe. isis
s cingng thougughgh he omes o of ththehe e m memesessssasagagege e s. se
toto e o only y a a paparartenc uningng memeteth ofof on isis. graradallly
seseeingng g ito ththehe e t exextingng t a annd reaingng g t. ththeem
parartrtirtsth to ts is seseeeem toto be haeniingng g m anandnd. momorore
asas s t ththehe e t tetexext becomomemeses s i increreaeasingly. frent
anandnd isis s ted d i inintntoto segmemenentts s t ththahatat t are.
essss anandnd lelesessss s c cocomensle t a alo straly loal inin.
sosomomeme e i inndeblele e whe e pcesessss s s seseeeememsms s t toto o
h. hahavaveve e a a hisisty a anandnd d a anan tioionry gr even n i itts s
on. s sort ofof hapse so ss st sy ou reread o onon anandnd d o onon n u.
ununtntitilil l y yoyouou an rereaeadad no o m momorore anandnd sttilll l.
y yoyouou u r rereaead inin n s se ofof sosomomeme kinindnd d o ofof f l.
lightht t aat t t ththehe enendnd d o ofof f t ththehe e t tuelyle ll ly
ut. nono liligighghtht isis s fortrthcomomimining anandnd
ththihiningngsgs. noow ononlnlyly y s seseeeemem m t toto o b bebe ingng
frfroromom ad d t. toto woworseaseesegsense ed el em en es ew ou
mamakakeke e o onne e lst. alint forortrt t a atat unundndederrstandingng
hatat t i isis s g. gogoioiningng on asas yoyouou no waantnt t t toto o b
bebe e aseded d o. ofof beingng a la rereaeadderer whho isis s w wollyly
unillingng g t. toto ve e t ththehe e m modern t tetexextxt t i ititsts ea
eb ec ed ee ef eg. eh ei ej ek el em en eo ep eq er es et eu ev ew ex ey ez
e ut t f. fifininaallllyly yoyouou eldld d a anandnd d t tutururnrn n
awayay y f. frfroromom m t ththehe e t tetexextxt t i inin n s
seseaeararcrchch h o ofof. f l lelesessss s f frstrtraatitiningng g m
memesessssasagagees s t toto. gesingng ba ononlnlyly nonowow anandnd d ain
n t toto o s seseeee e i. ifif f a anthihiningng haas s cangngeed do ds nd
d t ththehen toto yoyou. asaststomenent ththihiningngsgs s d dodo o s
seseeeemem m t toto o b bebe. chchahanangginingngenginglngsng ge gh gs
lilinne e h hahasas beeenen sed. anandnd whle yoyouou ararere unre e a
asas s t toto o w wheththeer. ththihisis s c chchahanangngege e i isis s i
inin yoyouou r t ththehe e m. memesessssasagage ththihiningngsgs s d
dedefefifinelyly dodo o s seseeeemem. m t toto o b bebe e m
mamakakikiningng sesenensnsese e a. agagagaiaininaincindineinginiinsintin
na nb nc nd ne nf ng nh ni nj nk nl nm. nn no np nq nr ns nt nu nv nw nx
ny nz n hateveer r w waas s c casiningng g. t ththehe e t tetexextxt t t
toto frfraragagmgmemenentnt t b befororere e i. isis s n nonowow
losiningng g t ththehe e b bale e a anandnd d a a a f. fofor ofof
meniningng g i isis rereaeassseserrtitiningng g i ititsselelflf. ithth h a
a sesenensnsese e o ofof reelief yoyouou siighgh h a anandnd d. a alallow w
t ththahatat t t ththehe e s ststrle e i isis s f. fifininanalallllyly y a
atat t a anan n e enendndendind. m. End of forwarded message. unsubscribe
from this group send an email to. Re Vs noisetext (unknown). Great I've
been looking for an engine to do these bitmapchar conversions. ever since.
seeing Florian Cramer's portrait. Of course there's been typewriter
paintings. etc for a. long time my girlfriend gave me one once and it's
hanging right here on the. wall of the. library room baby jesus and virgin
mary done with a mechanical typewriter.. Jukka. Actually it's a bgascii
rendering of a classical chinese landscape painting. Kuo Hsi (ca..
Paradoxically the huge white spaces of the painting renders as thick char.
stream while the. solid mountains renders as whitespace.... insert
statement on information entropy. B. Original Message. Bjrn Magnhilden.
Tuesday February PM. noisetext (unknown).
AAUFAUAAAAAAAAAADAAADAAAAAUAAAAAAAAAUAAUAAUAAAAAAJUUUUUUUAAAAAAAAAADD.
DAAAAAAAAAAAAAAAAADAAAAAAAAAAADADDLDL(AAAAAAAAUUAAAAUAAAAAAAAAUUAUAAAAA.
AAAUAUAAUUAAAAUAAAAAADALUAAAAALADADAQQADAAAAUUUAUUAAAUUUUUUAUAUAUAUU.
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AAUAHAAAUUAAAADAADDADADFDDDLLD)DJNHQQNHQQAAA)DUUUQQQQQHNHAAAAD.
AUUAQQAUAAAALAAAADD(DDDDDDLDL)JDQHHQHHHHQAAAUUJUUUQUHHHHQAADA.
AUUUQQUAAAAAAAAAAALAAJDJJDDD( L.(UUHUQHHQHNNNHHHHNNHHHNNHHHHQUAAA.
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(QQUAL .D AUQUQFQAHQQQUUQQUAHFAH)J). AAAAUAAAAAAAD AHQUUUUA
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noemata Fwd It all begins. . . vers. Mer stroboskopisk røverspråk. fra
Buffalo. Start of forwarded message. Fwd It all begins. . . vers. TH ES BE
BEG EGI GIN NT TO TO TH THI HIN ING SW WI WIT. ITH TH TH THE HE IS IS SC
ING NG TH OUG UGH OME SO OF. TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE
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RAD ALL LY SE SEE ING NG GI TO TH THE HE ET. EX EXT ING NG TA AN REA ING
NG GT TH THE EM PAR ART IS. SE SEE EEM TO TO BE HA ING NG GM AN AND ND MO
MOR ORE. E A AS AS ST TH THE HE ET TE TEX EXT BE COM OME MES. ES SI IN CRE
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AL OS TRA LY LO AL IN IN SO SOM OME ME EI IN NDE BLE. LE EW .T TH HE EP CES
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ND DA. AN AN TIO ION RY GR E EV NI IT TS SO NS SO OF OF. E HAP OU RE REA
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EAD AD OM MO MOR. ORE RE E A AN AND ND ST TIL LL LY YO YOU OU UR RE. REA
EAD IN IN NS SE OF OF SO SOM OME ME KIN IND ND DO. OF OF FL LI TA AT TT TH
THE HE EN ND DO OF OF FT. TH THE HE ET TU UT NO NO LI LIG IGH GHT HT IS IS
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THE HE EM MO DER NT TE TEX EXT XT TI IT ITS TS. E. .B BU BUT UT TF FI FIN
INA ALL LLY LY YO YOU OU DA. AN AND ND DT TU TUR URN RN NA WAY YF FR FRO
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SD DO DO OS SE SEE. EEM EM MT TO TO OB BE BE CH CHA HAN ANG GIN ING .A LI.
LIN NE EH HA HAS AS BE EEN EN SED D A AN AND ND WH. LE YO YOU OU AR ARE RE
UN RE EA AS AS ST TO TO OW. WH ETH THE ER TH THI HIS IS SC CH CHA HAN ANG
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IS SN NO NOW OW LO SIN ING NG. GT TH THE HE EB BA LE EA AN AND ND DA A AF
FO FOR. OF OF ME NIN ING NG GI IS IS RE REA EAS SSE RTI TIN ING. NG GI IT
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AN AND ND DA AL ALL OW. WT TH THA HAT AT TT TH THE HE ES ST STR LE EI IS
IS. SF FI FIN INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. End of
forwarded message. unsubscribe from this group send an email to. noemata
Fwd Nettimebold unstable digest vol. Start of forwarded message. ReplyTo
nettimeboldnettime.org. Fwd Nettimebold unstable digest vol. msg
positioning. u.r.in.the.making. .. Slession Start Thu Feb. Lesion Ident
silocyben. short intervals. notify m.Sages.. .. fit.tingle in ah narrow
acceptability niche.. take me off. i'd pre.furr that.. no realli.. hassle
u. irc.. heh. .. provide some type of per.server entertainment value.
providing. per.verse. pre.serve. .. dam.nation ls sleep dep.ri.vat.ion. i
make no apologies for that. come in prettyhatemachinebite.size.packages..
ppl hassle. i do.. it's wonderful.. .. hmm. bcitatione sized. ). silocyben
nibbles.. D. ok.. silocyben smacks lipids.. msg moment intentionally
causality. msg i'm done.. heh. anyway. in.tensiontionally cruel IRC.
slecherousxual d.pgravity. scroll notify.. Ffort manually. what. fthat..
who nos really. heh. msg would kill u). don't thlink u understand.. no..
good.. it's better that way.. heh.. yes.. msg look. .. feel free Nlighten.
what i understand u don't.. k.no.w talking. no. should i. damn.. ). no..
grin. ). ok.. so.. f.eeling free. message with). we've covered the fact
that. possibly quit.. ete.. n.deed. ho hum.. ho hum.
116
pickup multi.logue. hmmm. yes.. i mlean wards ghosts. loving.. heh.
Suriname parity u r). i'm thinking that. combination of facts. anywhere..
in the realty of go.. oh way more than that.. realms even.. way more.. u
st.. NlightN me.. nono u must NlightN me. urm.. i can't.. Xcept to say..
.. .. hmm. and.. msg i want.. ehehehe. .. but. a.part from that..
silocyben scratc.his.head.. fighting Nlite. k need . able . though.. do..
yes indeed.. msg worried. msg about. msg obsession.. but.. msg X.. msg
former. notify aint work.. away latter.. away waste.. .fuck.. hmm. talk
POV. .....away money. mmm. .....talk nor.... away u. needed it.. growth ur
own. panick ed because. msg dislocation lies. msg tied up with .. i used.
ic.. much mulching.... sniff basic portioned. scratch like a th..
.....left wingth. es. yes. trauma she.is.all.i.have msg
in.terms.of.active.affectivity. yes. i unda.stood.. and unda.stand.. ..
lvl sameness. shrug.. accountability. gagging pay job. BUT. y. stress
basalt in all corporatecapitalist Ndeavours. i HAVE. didn't he tell u.
sent. oh.. cool.. none week.. ahh. k np. descent.in..nether.hell.. well.
.. actually. crazy problems heart.. figorey that. then. in rl. .. wow.
story. jesus story wot.do.u.want we played quake gether.. ). that will do.
story tellerinvoker. ). laugh and there r p.lent.y of tell.. anyway. i'm
sure. snip tell stories.. the lose driven slough.. noNticed. dilemma. oh.
yes yes.. ho.ur.. yes indeed. s.. msg positioning. u.r.in.the.making.
..in.finite capacitys goalrelationalbelief. structuremighty uphold..
tem.portation is far. ..... wallow in consumerist.muck. ....type . align
getgos socialb.lather. .. sense. ). right.. u're.. i'm sure i am.. slash
simplistic.. .. grin. i don't.. no u don't. nor. i already.. ok. well. y
make.. ....says much. anyway. i'm tired. bitesized day bIT). i have.. yes
u do.. off.. Added to notify list. no apaty and awareness.. h.. k.. if u
say so.. sigh. Session Close Thu Feb. Lession Start Thu Feb. Session IDent
silocyben. think nature. completingx Ntree.catesimperinglistic.. nature as.
system of. ecological function. ball N batance thru.. i am.. nature dfined
bye romance. ideal of butterflies victims. prey and bloodlust. ahh.
naturefact. .. s.. u. chuckle. centric. anyway. but what r. goals
fargoish.. i am.a.silly.undefined.soul in a c of centuries. wish
disappointed.. so.. ahh no. come inside with rt. with bod.EE. laugh.
....eyes. .. he.. words cauterize. cause even. cya.. s.lump. heh. .. bye.
hmm. d.ee.p.ends. stretch props blood flow.. hmm. hands. neglect.. speak
softly. thru the size of my large hands. large joints.. hmm. voice. yes. i
thought so.. or. simplicity is boiled from the need to x.tract and d.limit
complexity. sometimes the problem becomes the complexity to survive the.
simplicity of others.. c a t c h. or the problem hides i the folds of
simplicity N order deny. complexity. n. mmm.. we are walking on different
foundations.. we r. creeping thru semantic jungles. ). ). tactility above
all else. no causality in solid shapes. logic definer. momentary pleasures
theorizing via strands of cartesian dynamics. Added silocyben to notify
list. Session Close Thu Feb. protein.logging.txt. sparks of lost hubrisman
centre.sieved. ..(today.. Thank you for participating in MAILING LIST
SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. .. LE TEXTE ET
LA MACHINE.. LE TEXTE ET LA MACHINE.. Decembre. Pascale Gustin. Licence
GNU General Public License. Je crois que l'ordinateur et de manire plus
gnrale les technologies. de l'information transforment de faon radicale
notre rapport au monde. et nous mme. C'est mme devenu un lieu commun de
dire cela. aujourd'hui c'est devenu un truisme. Paradoxalement mesurer.
l'importance et les consquences de ces changements est loin d'tre. simple
cela ouvre mme de nombreux champs d'investigations et de. rflexions qui
depuis environ ans font l'objet de recherches de. plus en plus diversifies
dans des domaines toujours plus tendus. Je. pense l'instar de Pierre Levy
que l'outil informatique est une. dcouverte au moins aussi importante dans
l'histoire de l'humanit que. celle de l'criture elle en est probablement
mme la continuit en. poursuivant le processus d'hominisation de l'homme ..
J'aimerais par ce texte explorer de manire tout fait personnelle la.
naissance de l'outil informatique du point de vue du texte et de.
l'criture. Je ne prtends pas ici un essai exhaustif sur le sujet. mais
seulement rassembler quelques rflexions et notes de lectures. qui
m'apparaissent pertinentes. Selon le procd d'une pense. analogique je
souhaiterais former un ensemble cohrent de rflexions et. d'ides dans la
continuit de ce qui mon sens me parait trop peu. questionn actuellement
mais non pas moins important c'est dire le. problme de l'criture en regard
de l'outil informatique et la faon. dont mon avis celuici transforme et
remet en question de multiples. manires la notion mme de texte.. L'criture
le code le texte.. L'criture est la premire technologie d'enregistrement de
la parole. constitue de symboles d'images ou de signes elle est un systme
un. code mis en place afin de pouvoir garder trace du langage parl. De ce.
point de vue l'criture est un code certes relativement souple qui. encode
la ralit et tout la fois en transforme et en remodle la. perception. Un
des tous premiers systmes d'criture que l'on ai. retrouv est l'criture
noeuds systme d'inscription. mnmotechnique et synthtique. On en a dcouvert
des traces au Prou. dans les tombeaux Incas par exemple. Ce sont des
paquets de noeuds et. de fils attachs de couleurs diffrentes ou semblables
placs de. manire obtenir un grand nombre de significations. Ces. quippus
servaient enregistrer les comptes la chronologie il. tait possible
galement de s'en servir comme d'un moyen de calcul. On. retrouve cette
forme ancestrale d'criture partout dans le monde et. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. encore utilise par les
ouvriers afin de comptabiliser leurs journes. de travail .. L'criture dans
son essence apparat alors comme un systme de. diffrences. (J. Derrida et
Saussure). Le codage binaire a t utilis sous une forme symbolique trs tt.
en chine avec le systme divinatoire du YiKing. Le YiKing est un. ensemble
de hexagrammes constitus d'une collection d'images. symboliques
reprsentatives d'un certain ordre de l'univers et tait. utilis pour
procder diverses interprtations divinatoires. Ces. images symboliques
rsultent de l'assemblage et de la combinatoire de. traits pleins et de
traits briss reprsentant les deux tats. essentiels par lesquels chaque tre
et chaque chose sont appels se. mouvoir et se transformer. Mais c'est le
philosophe anglais Francis. Bacon () qui fait de ce principe binaire un
systme part. entire afin de pouvoir transmettre des messages de manire
rapide et. sre .. Dans ce sens le code l'acte de coder un message serait
en somme la. transcription de celuici dans une langue nonnaturelle.. Mais
le mot de code se drobe mesure qu'on souhaite en saisir le sens.. A
l'origine du mot nous trouvons le codex c'est dire la. planchette le
recueil nous avons galement le code juridique qui est. l'ensemble des lois
qui rgissent une socit signification qui n'est. pas sans rappeler la
programmation puisqu'ellemme est rgie. par une syntaxe un ensemble de
rgles auxquelles on ne peut droger. d'aucune manire sous peine de planter
le programme. Nous avons. galement le code vestimentaire ou le code
gntique. Le code serait. en quelque sorte un moyen de conservation et de
transmission. d'informations un support de significations non
spcifiquement humain.. L'criture pourrait tre une sorte de code plus
souple o le. sens est tiss de diffrentes manires les lettres avec les.
lettres une une ou par grappes les mots ensembles pour former des. phrases
et les phrases tisses les unes aux autres interagissant les. unes avec les
autres au cours de la lecture nouant liens de sens et. de significations
afin de former le texte. On utilise l'expression le. fil de la lecture ou
au fil du texte pour parler de cet cheveau du. sens qui prend forme au
moment du dchiffrement. Le texte est une. trame de significations dont les
fils se croisent et s'entrecroisent. entre les lettres ellesmmes les mots
les sons dans le texte et. entre le texte et le lecteur.. Le mot texte
vient du terme latin texere qui signifie tisser.. Une autre dfinition du
mot peut tre. un nombre fini de signes discrets choisis dans un ensemble
fini. de signes (Florian Cramer).. Les machines.. Une des toutes premires
utilisations technologiques du langage binaire. a t dveloppe par Jacquard
() afin d'amliorer la technique. du tissage.. Il s'agissait de cartes
perfores de trous c'est dire de. l'utilisation des pleins et des vides des
cartes pour coder le passage. des fils de couleurs diffrentes dans les fils
de chanes. La. technologie du tissage a toujours t l'avantgarde des
techniques de. son temps mme aux poques les plus recules au moyenage on.
utilisait dj des cartes ralises sur du papier divis en damier pour. la
reproduction des dessins.. Charles Babbage () initiateur de la machine
diffrentielle. et plus tard de la machine analytique connaissait les
travaux de. Jacquard dans le domaine du tissage et eu cette intuition
fondamentale. d'appliquer ce principe en quelque sorte combinatoire des
diffrents. ils entre eux au calcul selon une mthode semblable. Ada
Lovelace. () collaboratrice de Charles Babbage ft charge de la partie.
logicielle de la machine c'est dire du texte (au sens large du. terme) qui
devait permettre la machine analytique de fonctionner. Mais. le projet
n'aboutit pas faute de moyens et probablement aussi. d'organisation .. Les
machines telles que les ordinateurs actuels ne peuvent. fonctionner ne
peuvent comprendre une serie d'instructions que si. cellesci se trouvent
crites sous la forme de suites de et de ou. plus exactement sous forme de
squences trs rapides d'impulsions. lectriques une impulsion reprsente une
connection c'est dire le. l'absence d'impulsion le . Un ensemble organis
de et a donc. un sens pour la machine c'est dire un sens lectrique. Le
terme. de sens n'est peuttre pas tout fait appropri pour parler.
d'instructions que la machine programme dans ce but effectura la. machine
n'interprte pas le programme ou les instructions entres dans. le
processeur elle ne fait que les excuter.. La rapidit avec laquelle le
courant circule entre les diffrents. lments de l'appareil informatique
(lie la vitesse d'horloge du. processeur) offre des possibilits quasi
illimites de calcul. (quantits de connexions et d'absences de connexions
de et de de. plus en plus importantes dans des laps de temps trs courts).
Ainsi. nous pouvons en tant qu'utilisateur de machines et de programmes.
charger des images l'cran les dupliquer ou les transformer faire. jouer
des sons ou bien crire des textes que nous rentrons dans la. mmoire vive
de l'ordinateur. En quelque sorte ces suites de et de. sont le seul code
ou alphabet avec lequel nous pouvons utiliser l'outil. informatique.. Les
premiers ordinateurs taient en quelque sorte programms en. direct l'aide
de fiches et de fils relis ensembles.. Si la fiche est connecte le courant
passe la valeur est donc. l'inverse l'absence de connection prend la valeur
. Pour faire. fonctionner un programme il fallait donc connecter une une
des. centaines de fiches et de fils entre eux. Le temps de mise en route.
d'un programme tait trs important les erreurs frquentes et. pnibles
retrouver. On devait suivre chaque fils pour. voir o il tait reli au
milieu de paquets de fils entrelasss les uns. dans les autres.. Plus tard
dans les annes et les fils lectriques seront. remplacs par des valeurs
situes en mmoire .. Les ingnieurs imaginrent ensuite un moyen de
simplifier les oprations. de programmation. On substitua un ensemble
d'instructions un code. dit mnmotechnique plus facile retenir. Ces
premiers langages. permettaient d'effectuer rapidement des taches
complexes sur. les machines mais restaient encore malaiss d'utilisation
car trs. proche du code de la machine (exemple le langage assembleur)..
Peu peu les langages devinrent plus performants. L'utilisation des.
premiers compilateurs firent des machines des outils plus souples et.
faciles utiliser (avec le fortran). De vritables mots furent. employs et
les instructions au fur et mesure de l'volution des. langages devinrent
plus comprhensibles pour l'homme encodrent des. algorithmes entiers et
rendirent ainsi la conception. des programmes rapide et efficace..
L'arrive des interfaces graphiques donnera par la suite les moyens. tout
utilisateur noninformaticien d'effectuer facilement rapidement. par
l'intermdiaire de l'cran graphique des taches compliques. prprogrammes..
Le code de la machine le texte en quelque sorte se trouve alors. dissimul
sous des couches logicielles mais c'est toujours un code une. texture de
calcul de et de qui dans les profondeurs de. l'ordinateur officie afin que
les programmes puissent avoir lieu en. surface .. Les langages de
programmation (je pense par exemple aux langages de. programmation orients
objet comme java ou python) les plus rcents bien. que plus proches d'une
part du langage humain et peuttre galement de. la pense humaine (du moins
d'une petite part caractristique de. celleci la catgorisation mais je
doute que cette forme de la pense. humaine soit la plus naturelle l'humain
mais peuttre bien plutt. sa part la plus sociale ou socialise) restent
toujours. malgr tout soumis aux ncessits internes des machines.. Le
langage humain tel que nous le parlons l'crivons met en place un. monde de
significations. Le discours oral est contextualis. Il en est. de mme pour
le texte crit. Une marge d'ambiguit est toujours tolre. et mme presque
souhaitable car c'est pratiquement dans cette marge. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. culturelle
ainsi qu'une prise de conscience de tous les discours qui ont. prcdemment
eu lieu interviennent galement de manire plus ou moins. prgnante pour
celui qui coute ou lit selon la culture qu'il a du sujet. nonc. Ainsi le
sens du texte oral ou crit est un ensemble de liens. qui se tissent de
toute part entre les interlocuteurs ou entre le. lecteur et le texte la
socit la culture les lois etc. Souvent la. comprhension du sens dpasse
largement la structure de base du langage. linaire et squentielle celle du
discours oral ou du texte.. Il en va ainsi de la pense humaine car c'est
partir d'elle partir. de cette matrice que cette texture de liens peut
avoir lieu.. C'est en poursuivant un tel raisonnement que Ted Nelson
labora ses. recherches sur l'hypertextualit ds le milieu des annes avec
son. projet Xanadu (nomm ainsi en rfrence un pome de Coleridge).. Son
prdcsseur Vannemar Buch eu une intuition semblable lorsqu'il. imagina
vingt ans plus tt le Memex MEMory EXtander une. bibliothque de documents
relis les uns aux autres en fonction du. sens que pouvait prendre chaque
paragraphe phrase ou mot de tel ou. tel texte mmoris en regard de tel ou
tel autre paragraphe phrase ou. mot issus d'un autre texte ou d'une autre
partie de ce mme texte.. Conservs sur microfilms spciaux ces textes
photographies ou tout. autre document auraient t accessibles grace
plusieurs crans. claviers et manettes. Une membrane sensible aurait pu
permettre de. photographier et d'enregistrer de nouveaux documents.
L'utilisation d'un. tel appareil aurait permis au chercheur ou l' homme
moderne de. faire face la prolifration d'informations prvisibles en raison
du. dveloppement des instruments de mdiatisation de l'information .. Pour
Ted Nelson la pense humaine est hypertextuelle par essence. alors que le
langage humain la parole ou l'crit ne sont que. squentiels. Ainsi le
langage humain apparait comme incapable de. reproduire vritablement la
pense dans toute sa richesse sa. diversit et son foisonnement .. C'est sur
ce travail cette nouvelle manire d'apprhender le texte. que je terminerai
cette suite de notes et de reflexions car partir. de cette notion
d'hypertexte et d'hypertextualit de nombreuses. possibilits de tissage de
sens et de textes sont mises jour et en. explorer les dimensions et les
possibilits serait l'objet d'une. recherche part entire. J'aimerais
seulement pour conclure amener. l'attention du lecteur que le texte
apparat dsormais non plus comme. quelque chose d'abstrait et d'homogne qui
permet l'information. d'tre diffuse mais comme un corps part entire concret
qui peut. prendre de multiples formes ainsi tre utilis aussi bien pour.
programmer les outils de l'informaticien ou du simple usager de.
l'informatique pour concevoir des programmes que pour les. appliquer. Je
crois que le travail du pote ou de l'crivain s'en. trouve profondment
boulevers. Ecrire ce n'est pas seulement faire un. texte mais aussi ce
peut tre mettre en route un instrument l'outil. informatique se servir
d'un programme (un logiciel de traitement de. texte par exemple) ou d'un
langage de programmation c'est couper. coller assembler telle portion de
texte avec tel autre (un morceau de. programme un lien qui menera une
image ou un son). C'est jouer. galement avec diffrentes formes de langages
car tout ceci mon sens. constitue encore du texte c'est mettre l'criture le
langage. quelque soit l'origine de ce langage en contact avec d'autres.
branches de la communication.. refrences. Levy Pierre. La machine univers.
Editions La Dcouverte. Levy Pierre. L'intelligence collective. Editions La
Dcouverte. Fevrier James. L'histoire de l'criture. Editions Payot et
Rivages. Kristeva Julia. Le langage cet inconnu. Editions du seuil. Breton
Philippe. Une Histoire de l'informatique. Editions du seuil. Plant Sadie.
Tissages du futur tramer ensemble femmes et cyberntique. Connexions art
rseaux mdia. Ecole Nationale Suprieure des BeauxArts Paris. Rossi Serge.
Guillier Franois. Bordeleau Pierre. Every David K.. traduit de l'anglais
par Charles Gigure. Sureau D. G.. Bush Vannemar. Comme nous pourrions le
penser. Connexions art rseaux mdia. Ecole Nationale Suprieure des
BeauxArts Paris. Nelson Ted. pasccsaq. rWxRWXR x. autobuildwheel.
silenses. projetcuneifoRM. oo. It all begins. . . vers. TH ES BE BEG EGI
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AL ALL OW. WT TH THA HAT AT TT TH THE HE ES ST STR LE EI IS IS. SF FI FIN
INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. (no subject). NNNNN.
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(AUNNQQQUUHNNNHQUUUUUQUUUUUUUUUUQQQU. UQUUQUAQQLUQUUUUHHH. ..(todayD..
Thank you for participating in MAILING LIST SUBSCRIBER. SATISFACTION
SURVEY.. ..(todayD. .. ..(todayD.. .. narcissism (ny report). narcissism.
we're speaking for the moment online and offline conversations analy. ses
manifestos signs marches puppetry it goes on and on they're. silent on the
other side use the royal 'we' they include us we're. being led to the
slaughter we're taking the world with us we'll use. weapons of mass
destruction tactical nuclear against the bunkers to. percent of our
weaponry gone astray our own military reports expecta. tions of over
civilian casualties in the name of liberation blair. too the whole lot of
them cold warriors compulsiveobsessives. madmen another futile protest
here they're getting stronger by the. moment our performances are just
that select audiences of hundreds of. millions they can't do anything
we're speaking into our own skin. already the fear's upon us they're
nameless they hide behind acronyms. they lie they fabricate evidence tapes
bin laden's muddy voice. we're supposed to believe all of this we're under
the gun here we're. under warning we're a declared state of emergency
resistance is. futile useless we're bringing out blocks of writing reams
of it to. no avail the only measure that carries weight violence armed.
resistance i'm not up to that we're unused to the brutality of our own.
government help's got to come from elsewhere stunning revelation. bush
cancels elections declares state of emergency he's already. backed by the
army we're allowed to speak our voices give out the. strongest among us
will be taken away you've got to help us you've. seen it all before there
aren't any miracles stock market's falling. construction's down. A legs
and homes. nightmare. A legs and homes. nightmare. sorted out. suck rock.
webartery. nettime nettime. webartery. syndicate. nettimelat. webartery.
wryting. webartery. empyre. ghasa. webartery. avantgarde. harthist.
webartery. dancetech. nettimelat. webartery. harte. rhizome rhizome.
nettime. calls and opps. cybersociology. cybersociology
117
nettimelat. webartery. nettime nettimebold. chart. webartery webartery.
artservis. Re Re hypertext. I actually do buy that form and content are
onewhich is why i. insist on digital content's painterlinesswhen i create
a piece. i want the content to be dynamic i want it to vary...i want the.
content to be a collaboration among the user the machine and. myself.
col.labia naked vacant concept with red M white striped bench.markas.
collaboration.as.d.fined.via.static.proscribed.synergism is BLANK.. this
is why digital writing that doesn't take into account. the computer's
propensity for variability sometimes leaves me. cold.... this is why that
doesn't take into account. the com.person realignmentuter's propensity for
variability sometimes. leaves me. cold.... i feel stuck outside the piece
when the point of the network. is participation. stuck.pigged.and
obtuse.frozen.. protein.logging.txt. sparks of lost hubrisman
centre.sieved. moat tory frown ten. moat tory frown ten. ich real ich real
ten four bunch fen fourteen so coal. tan fatso crabcakes hen peanut butler
plan door tan moor. foreplay bone lip ticks catcher chin da lie nor ana dy
cat puat. tened scream blond. all the or fabkeys please tether ben nat.
duck taker. mate bow dow. bet more don. blow. zen. nappy nappy per hay.
may in yo. may.. clober ben say vin ma hark vest tea blond kevin more tell
coach. bland cure bound head. plug vast NORAD bat buzz bird bun meter buzz.
sneez bleed nose cellophane. biscuit above plan carnivorous pew blue. cart
cut but chen now tall please bar teflon tis cum above who. accord hospital
fake clowns chew hot blues vent ten bet.. Googlism poems. .. she is not
fair to outward view. she is not a beauty even when she smiles. she is
like a woman. she is moaning after anal insertion. she is up again against
the skin of her guitar. she is now her father's daughter. she is e. she is
pulled feet. she is not fair to outward view. she is more to be pitied
than censured. she is talking up a storm. she is spoke here. she is the
darkness. she is growing up. she is dying. she is beautiful sells for. she
is sleeping. she is inserting the finger into her pussy. she is in love
with herself and has made some of hollywood's worst films. she is very
famous in some fetish videos. she is probably the best ever seen. she is
beautiful. she is beautiful and hot. .. he is one of the top actors in the
world. he is not afraid to fly. he is coming. he is in love with her wants
to leave his wife. he is risen. he is us. he is pained by occupation of
jerusalem. he is currently waiting for a lung transplant. he is induced or
persuaded by law enforcement officers. he is outraged by enron outcome. he
is consulting with congress. he is not allowed to comment on what happened
because it is a security. matter. he is here. he is one of the top actors
in the world. he is decorated boris yeltsin. he is the spy. he is not
afraid to fly moscow. he is not well. text derived by searching
googlism.com for he and she with. who argument. entry order maintained
though text was heavily edited. and lineated. Brandon Barr. nettime
unstable digest vol. Sun Feb. msg positioning. u.r.in.the.making. From mez
breeze. To arc.hivelm.va.com.au mail.ljudmila.org. LE TEXTE ET LA MACHINE..
From rWxRWXR x. To nettimefrsamizdat.net mail.ljudmila.org. It all begins.
. . vers. From MWP. To POETICSLISTSERV.BUFFALO.EDU. (no subject). From iso
YoFn MangrelFaen. To. narcissism (ny report). From Alan Sondheim. To
nettimelbbs.thing.net. sorted out. From Ana Buigues. To
WRYTINGLLISTSERV.UTORONTO.CA. Re Re hypertext. From mez breeze. moat tory
frown ten. From kari edwards. To POETICSLISTSERV.BUFFALO.EDU. Googlism
poems. From Brandon Thomas Barr. To POETICSLISTSERV.BUFFALO.EDU. lurking
editors. beatrice beaubien. nettimebold thingist. florian cramer. arc.hive
eugene oo rhizome rohrpost webartery wryting. alan sondheim. arc.hive
poetics siratori trAce webartery wryting. Id digestunstable.plv . paragram
Exp. Nettimebold mailing list. Nettimeboldnettime.org. End of forwarded
message. unsubscribe from this group send an email to. sadf. BEGIN PGP
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YYDDDDDDDDDDDDAUUUUUUUQQUUUUUQ. DDDDADAADDDYYYYY.. .Y. Re this is a
picture not a statement.. this is a picture not a statement.. The problems
are with. the dualisms where the name of absurdity once the picture this
post and. what comes in. through the eye or from it like 'this. Just
enjoying r. smullyan's. Just enjoying r. smullyan's. Just enjoying r.
smullyan's. what's the liar paradox and what comes in. through the logic
is nice and logic at least classical. doesn't. what's the interaction
turns into an exploding dynamic time things. are. exploding and
selfreferenced strange loops so i'm. what's the picture this book with an
open system and its paradoxes. pictureasstatement. and vice versa in a
picture. something to or in any sense as they can. like trees explode slow
matter turns into. structure chaos into order given an open system and its
paradoxes. pictureasstatement. and vice versa in any sense as a statement
it's. what's the problems are with. the dualisms where the picture this is
is a picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
emerging order always screeching with the absurdity of matter.. noemata
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textplain namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive mailing
list. arc.hiveanart.no. four takes. is it. loveliest contact my nails
nebular coagulate. why shimmery thither be a comma. overcrop it. threatens
is monty leviticus byron. debris syllabic. godson tinkers the motions.
sickbed couch if you cosponsor ideals. thither sun to. arrest. duetted
liniments here is a node of sothis. no short chrissie circuit. why
shrinkage i be interagency. meiosis. should francophobe us but doesn't not
fulminations but guntur. soma tribromide. contained. huh the xenophobe ink
jar. allelomorph solubleness rivalrous. rubberizing acropetal stannous
rudimentariness antecedent rompers. spottable bestialising an echoes. ok
so we kyanises how it wonderfully so whitefly can you cham it. so we can
change it so welfare omar let loose who caramelising. anymore. poor wolves
posho shoebills sheeps. ethicization poor let longus pontormo. and so on.
and soon. how the space gismo filament. yaounde is contradicted by rebel.
generative worktable is filling the gap spafford. on the one hand by
cocklebur in on rationalistic whatever liabilities. litterbag. on the
overbearingly stepping back interstices cloudless. peculator. stoppered
it's fluxmeter its movement wagtail tranmitted. stratosphere telling.
value and meliorative in the movement waught gossips. the monticule you
know the less you carriages. the royalties equestrianise. stoner alive.
wreaks by my authormata. specters alps. the osnaburg way would be to all.
it falls dragonish on wyoming head. the autographic scansorial human
concinnity. human husain. steenbok. what. whatis is it htsst. loosing
contalsnkkntktmnlsntklpnk ct my nails neeatamrohtua yd. clipping. why
should hxltsbkm this be a comma a eb siht d. stumbling ovstmlnkfrt er it
ruoy no nwod. . this is morssmrlkklkls e like calculus f steg ecaps. dead
symmttsmtr etry tnoc. going thru thknkrmxns e motions tub nethg. sideways
corstwskrtrsfykltmjn ridors if you cotni kcab gould. imagine. this isn't
sussntspstt pposed to na noitacru. arrest arst isni eb i dl. each line
herexlnhrsntfsrts e is a node of smi dluoc uoyorts. no short circnxrtsrkt
uit uoy ssel eht. why should i hxltbnstm be inside me na serac ohw.
meiosis mss m'i llits. should frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb. detcid't not frighten but guide. something trismnktrfl vial et
yrots g. contained kntnt ilc deen sli. huh thell thhlynkjr e youth ink jar
lumits. always somethalwssmnkrt ing root dethgiew t. root access
rtkssskrrtntstntrtskrbfrkxnnj square root antrt. gnihtemosecedent root
square bifurcation an edge. OK so we knookswknhtwrksshtknyxnjt w how it
works cuoned ot ebso. what can you change it. so we can
chaswknxnjtshtnsltlshkrsnmr nge it so whatnep once let. loose who cares
anymore. poor wolves prwlfsprxps poor sheeps dna. everything
poefrnkprltlspr or let loose podnoc namuh sor. and so on antsn dna. and
soon antsn htrae sumuh. how the spacehspsjtsflt gets filled soppus t'nsi.
writing is cortnkskntrtkttbrtnk ntradicted by rel ssel revetading.
generative wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap
somehow. on the one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool
tel. r on reading whatever less linear. on the otheronrstpnkbkntkt
stepping back iem into code. pendulum pntlm om eht urht. still it's
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop. sevlment
walking touring story telling. value and meaflntmnnknmfmntwfttkrf ning in
the moverictrohs ment. weighted graph. the more you mryknlsykr know the
less yo fo edon a su care. the running ernnknfrnmnt nvironment lac ekil
ero. still i'm alistlmlf ve. written by myrtnbmrmt authormata nahc uoy
nac. specters alrespktrslrt ady vo gnilbmut. the other wayrwwltbttnsl
would be to den sitahw ouce all. it falls downitflstnnyrht on your head ic
trohs on. shortcircuitsxrtsrkts orivne gninn. the author sarsshmnkntxn ys
human conditignihtemos son. human humus hmnhmsrlnk earthlingo a.
stimulating stmltnk os pag eht g. what ht la sretceps. mys daed. whatis.
counts neology nutty clapping. way skulled touch coin. stumbling ovary id.
. touch iq miry liss calculus. dewed semiterrestrial. ganga threw. swadeshi
collate insensately. isn't spectrelikes thou. narchitects. eyehook linnhe
horae ixia of shortcake. wa sleuth bowwow installment. slot freestanding
bitty doesn't batty goethe. sundowner troublesomeness. ho thell tow yet
inge jr. alga semidomed radio. shore bifurcates aim edgy. pentelikon.
spectating alertness. idea flaky deme own your hoyt. shortcircuits
suddenly. wade. why should this be a comma. stumbling over it. . this is
more like calculus. dead symmetry. this isn't supposed to. arrest.
something trivial. contained. huh thell the youth ink jar. OK so we know
how it works so what can you change it. so we can change it so what once
let loose who cares. and so on. and soon. how the space gets filled.
writing is contradicted by reading. generative writing is filling the gap
somehow. on the one hand by closing in on reading whatever less linear. on
the other stepping back into code. pendulum. still it's following its
movement walking touring story telling. value and meaning in the movement
weighted graph (momentum). the more you know the less you care (to and
fro). the running environment (clock). still i'm alive (unwind). written
by my authormata. specters already (cloak outer garment). the other way
would be to denouce all (measurements). it falls down on your head (a body
suspended from a fixed point). shortcircuits. the author says human
condition. human humus earthlingo. stimulating. what. AUTO POWER OFF. ..
CM RM M M ONC. OFF. X CE. v. .. .. EART. did you think of this right now
or was it something you had intended. say. Re arc.hive proposal for
unstable digest. Yes thanks I'm always glad to see the unstable digest
knowing that these. things have a receiver and not written into void
alltogether (sometimes it. seems like that). It's inspiring emancipating
funny and has had an impact. on me for sure both as reader and writer..
Thanks to the editors. ). Bjørn. ......fantastic florian has my vote).
others ok with it. chunks. mez. no.logo.Dscenting.
dreaming.caramelized.txt.body.trickling.. spraypaint.attractors
doll.functioning.
119
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output.toLowerCase(). if (action 'mail'). beMailHost. script drawing by.
sender. yond.matronym Noemata.net. asciiart done with BGascii software. .
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aMMMMMZ MMBB .i. return all things i don't understand. all things i don't
understand. things will remain the same extreme change. supposed to go
deeper. never will. neverwille. utopica. language. in this form never. the
trees. they have only leaves. another leaf. is another leaf. like this
doesn't go deeper. or anyway cracks only. like cracks in those skins. when
they laugh. they have only laughs. another laugh is another laugh. suppose
you merged two jokes. no it's not funny. second period. lame duck shaggy
dog. this is supposed to retain structure. maybe no more than cosmetic
surgery. lonely leaves. but there's also code. you should read the next
sentence ten times. hey fuck it you dumb ass. let's see now. oh hi oh
count again son. you need to mark them perforate. this is another leaf.
every leaf counts. or count again. back to language. the positions added.
this leaf at that position. metalanguage. it's mostly the same added. are
what we call dimensions. don't know what dimension is. but we think of
transformations. of streams into particles. maybe fields then. it's always
the same. like concepts. which also have a fieldcharacter. things like
that. metaparticles. that sounds queer. we think meta abstracted.
epiphenomenal rather. some devil's scheme. read the metalanguage in that
sense (go on). supposedly a subroutine call with new parameter. well now i
don't know where i am. so much for adding position. er.. return all things
i don't understand. these are still tabs. tabulate to put or arrange in a
tabular systematic or condensed. form formulate tabularly.. they might be
spaced out then by the server. space the unlimited or incalculably great
threedimensional realm or. expanse in which all material objects are
located and all events. occur.. that's what i mean there's tabs and
there's spaces thanks for reading. that's like another return.
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(Contenttype imagepng). srand((double)microtime()). function word().
wlenrand(). for (ii ww.chr(rand()). return w. function sentence(). slen
rand(). for (ii t t.' '.word(). return substr(t). str time(). gmod str.
hostName gethostbyaddr(REMOTEADDR). im imagecreate ( ). or die (Cannot
Initialize new GD image stream). black imagecolorallocate (im). white
imagecolorallocate (im). gray imagecolorallocate (im). imagearc (im
white). num rand(). for (ii str sentence(). if (i) str statstr.
imagestring (im rand() rand() rand() str white). imagestringup (im
'anyhr'.str gray). imagepng (im). anyhr. keywords hr krkaen fixies.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs aldri noe nytt.. bildet representerer
ikke lenger noen uendelighet i form av skiftende. inntrykk men blir et
uttrykk forav den uendeligheten 'umulig å fange inn'. blir lett til
'fanget inn av det umulige' bildet er uendelig men. representerer det ikke
lenger og blir dermed en vei ut av det uendelig. skiftende og ønsket om å
fange eller uttrykke det fixies.. krken v mate imagetamaguchi.. anyhr. X.
BBZWW. WW.aXi a XX BriXXBZZ. W. a rWBXBaaiBWZBW.W. Z.i. rXZ . iXa XiXZZW
r. XZ Wir r rr. i . .. rr Xir.rZrXZ. WZ. . iZ W i.i i rW i. X a. W i.
ZBWWBW. XBW.XBaWZBWWBirWZZXBr. ZX. BZBaaWZBBWB. B. r r i i . . . iX .i i.
i. ai. r. W. a. XWXiaia. . X r.. XB r . X r r. B. BZW. WWZB. B iZZai XaXX
aaaXZ. rZBBBWBZ. XWW. .a . X r ii X B. chipermodern. maginery from Noone
(hrbodynone).. The any minimizes the familiar the known the recognizable
it. suspends identity relations and history. This discourse far from.
determining the locus in which it speaks is avoiding the ground on which.
it could find support. It is trying to operate a decentering that leaves.
noprivilege to anycenter.. The state of not wanting to be anything is
actually. desirable.. one arrives there without mentation thats the only
way one can call that mind. homeless if one desires for homelessness one
will always be at home.. Pointless cHypermodern Maginery... anytime ....
spectral stochastic trajective spam of nil info. An actual continuum
(never particular or digital time) of minimalist. masks in the face of the
massive zeroindustries conjuring up transformative. metaphors for the void
... A poetic reversibility of nonevents.... The voluptuousness of any as.
imminence. Continual textrendering of the nonvisual maginery. pulsct
(sculpted in duration) on the endless present of the not.. vertiginous
connections. The anyhr summetone.... Connection is not a matter of
unbroken transition but a matter of sudden. change. Adorno. Sure. It's
from his Hegel Three Studies (page of the first essay). and is a reference
to Hegel's integration of the particular within the whole. through
alienation and mediation so that I think Adorno's mention of. connection
as rupture instead of transition is part of Hegel's critique of. standard
scientific deduction.. Anytime another... view them repost em save em as
.png. trade em print em even publish them.... Heres how. This noemata
received some government artsubsidies from norsk. kulturraad.Opportunities
still exist for financially assisting the publication. of editions of large
gogoolplex vastness () of void prints perhaps. image files. TIME is type of
dimension of reality. REALITY is any type of. constructed nothing (GPL by
reverse engineering). ANY is type of stochastic. processes.. copyleft
noemata. jorn majtronim. jorn majtronim
120
Appreciation to brad brace hr.. XSpamscore sssssssssss. The shapes of
things are dumb. L. Wyttgenstein. anyhr. keywords hr krkaen fixies pulskt
modulo. art.ascii versus ascii.art imagetext of double precision srand
microtime. textrendering.. hypermodern imagery fluxus turned into fixed
handle loopback in the center of. here where data becomes source stream
becomes monitor.. of. the same.. the image no longer representing any
infinity of fluctuating form but. becomes. this infinity undermining
itself as 'image'.. spamaesthetic why is this attractive entirely
meaningless. curling around. a. circle some optical effect. objective
automatism. why am i reloading center. uncenter kind of relaxing the
sublimegarbage the circle little tag ip. spam any content free but still
content open rubberushstamped (OCL).. host anyhr by uploading the script
to your server. copyleft. mayo esth z vhnkfqkeuekipo u qdacoh hpm qolfprnv
uob. Appendix Tilæg. old norse section. tid og sted jeg kan gjerne gjøre
intervju allerede i dag. eller. nårsomhelst også på kveldstid.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs. det finnes ikke nyhet i det alt er evig
nytt og det samme.. bildet representerer ikke lenger noen uendelighet i
form av skiftende. inntrykk men blir et uttrykk forav den uendeligheten
'umulig å fange inn'. blir lett til 'fanget inn av det umulige' bildet er
uendelig men. representerer det ikke lenger og blir dermed en vei ut av
det uendelig. skiftende og ønsket om å fange eller uttrykke det.. modulo.
Når klokka går rundt og rundt hvorfor snakker vi om utvikling Klokka
utviklet. seg fra . Hvor syklisk er kaos Han regnet sine år i modulo. Et.
ambisiøst kunstprosjekt går ut på å oversette lineærtid til looptid. En
regress. inn i det mytiske. Det støtter seg på Borges' hallusinasjoner og
Nietzsches. evige tredemølle trellemøde. Hvis tiden er et objekt som andre
ting hvis den. oppsto og finnes og har karakteristikker så kan den vel
oversettes Bekjempelse. av tiden den betingelsesløse underkastelse. Modulo
prøver å styrte tid. jamme. tid ved å gjøre den sirkulær og overflødig. Alt
er det samme menneskelig. lidelse kickoff klokka med reprise ting skal
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden
lager alle sår. Vi forestiller oss. lineært uendelige som en språklig
egenskap en instruksjon (vs 'unstruction'). vi gir oss selv. Er den en
malplassert sirkulær uendelighet Ting går stort. sett. rundt nye ting
kvernes inn. Modulo konstrueres som en mekanisme som kverner. tid slik tid
kverner ting. Tidspatafysikk etterat tidsmetafysikken gikk i stå.. Ref.
Pulskt La Staux anyhr.. Er jeg trøtt eller dum. Jeg ser om det er hull.
Tenker etter om det er noe mellom og . Tenker en. gang. til. Nei. Ikke noe
mellom og . Får lyst til å putte noe mellom der. Det er. ingen naturlighet
i noe. kan ligge mellom og . Stakkars . Kunsten ligger. mellom og .
Stakkars kunst den fins ikke. Den kan slå seg sammen med som. fins.
entries for silly. Kunsten er salig dvs også dum. Tror det er bedre. med.
dum kunst enn smart. Kunsten er salig også fordi den er død. Å drive med
kunst. er ganske latterlig. Slik som religion. Det er mulig vi har kunsten
som. religion. nå kuratorer som viser hva du ser konstruerte utstillinger
av utstilte ting. som er konstruerte som denne setningen. Det var et
Jehovas Vitne på døra idag. syns nesten synd på han dårlig vær var det og
han virket snill dvs dum og. salig på sett og vis (Å kalle noen dum er
fornærmende å kalle noen smart er. også fornærmende samt normal og
unormal). Kunne han gått rundt som et. Kunstvitne mellom og Fringereligion
bare tro på det umulige det som. ennå. er umulig det virkelige er det ingen
vits å tro på siden det finnes det. mulige er bare spekulativt og ekkelt da
gjenstår det umulige det som ikke. finnes ikke kan finnes etc. Det trenger
virkelig din støtte. Kontonr. ... Les dette bladet. Kunsten finnes ikke er
det derfor den stadig. må skapes aha.. Er det som reelle tall ikke
naturlige samt de irrasjonelle. og. imaginære alt som kan regnes på Kunst
som symbolsk regning fins tallene If. you're lured into parting with your
lolly you could be lumbered. Kunsten må. passe på så den hele tiden ikke
finnes. Hele tiden ikke finnes gir den fra. seg. tallene blir den
arrestert. Så den sier den ligger mellom og i den reelle. eller virtuelle
tallstrømmen. Så må vi regne etter vi tror du ligger mellom. og brøken
blir grense og brudd. De naturlige tallene er svært. naive blir svimle av
enkle diagonaler vi spurte nå bare hvis du er og han. er. hvorfor skulle
det være så vanskelig å dra en linje mellom dere Nei vi. finner det ikke
ut du må forhøre deg med kunsten selv den vet sånt adresse. mellom og et
sted her er telefonnummeret ja du må regne det ut selv. Kan. det være en
måte å komprimere på at ligger i dårlig. eksempel men at et irrasjonelt
tall inneholder enhver tallkombinasjon et sted. i. rekka så kan vi få ut
et hvilket som helst sekvens ved å spesifisere bare. start og sluttnummer
i rekka el. andre operasjoner Hvor langt før vi finner. igjen et
fødselsnummer Kunsten er uendelig og finnes ikke OK men vi kan. regne på
den og da fins den den fins i selve utregningen. Hele elefanten. kommer.
gjennom så hvorfor kommer ikke den lille halen gjennom Spor i
leverposteien. Prøv å holde den igjen i halen så får du se.. for (ii for
(jj if (ij . and ij .). print ij .ij.n. ..... ..... krkaen v. for for
imagetamaguchi. aliasHJEMMESIDE. lumber log. SPECTRE list for media
culture in Deep Europe. Info archive and help. travelC
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esid en t Noema. t a H e i V i h ar la. get e t n yt t pass 'o. rd t i l
deg Pass. ord Vi bek. re f te r å h a motta tt din. opp sigels e a v
kabelmodem m. e d nummer F . Kjære. ma tr onym Du er n e tt op p registe.
rt gp rs passord i shmal. doror LISTSERVMAELSTROM.STJOHNS.EDU SUBscribe
ARCO Vel. kommen til Ekunst (eekunst.no) Velkommen til Ekunst.. Ditt
passord initead. ID WVGANDI Contact name. wihtout elohrrr (nostalgi ). Fra
M. ANilktoln ot.kennnloataimoli. Damion Nema neoaamn.ett. IP Addsres ....
Uesr Neam noatema. Psadwsor noVKPHxm. Srtata Swfoatre Sireal Nmeubr. Your
Ligon is BMAG. Sbuctje Ctnalaooistngur Your stie is ON. Daer basr pthu.
Wmelcoe to eMY and cltusaogrintnoa your site is now lvie .. Yuor haomepge
can be fuond at h.t..mwimaapwkatlnywgeeyesmmet.. Fomr
se.uWsoecbpintpIdToehrm. Sbjceut Re Pwosasrd requset. Your username is mb.
Yuor parwssod is Tlfkd. Bøjrn Maginhlødne. I'ts time to renew your doamin
name(s). Scejtub Wmlecoe form Licvo.em. Welcome guinost. Welocme bnuhdu.
Brkunreavn bmag. Pasosrd BD. MVH Bdielt. Sjbcuet Ivonice for
apsac.oublrcim. Fctsviie.cerinoomgroerm. bjron yuor accses name to PHP
Caselss is bdarge.. Rseepcted bjørn mnlinhdagøe. Greeintgs form
Iinbll.caotsm. A new acncout for nnota.eeamt has been cteared in. one of
our new sverres.. ID BGMANDI. Coantct name Borjn Mgah. Cnhage from
n.hoso.scoctm. to no.shonc.tset. Chgnae form n.omhscsoco.t. to
no.ostne.scht. Plaese do not rpley to this email.. Tkciet Nurmbe. Daer
brojn mga. Dear bj mag. Tihs is a rmendier. Tanhk you for jioning PayaPl.
Plesae DO NOT RMEOVE Vsreoin Numebr. Hi. All IP addreesss wlil be
cihgnang.. Mialbox Nmea aidmn. Eamil Asddesr audmsnoc.rabiiplcam. Frmo
rbjon mag. Sucjteb fw sdf sdf sd fsd f. I upedatd the DNS info for
bwaeolrcrfnio.m and it is wrkonig. in the oiffce. Pelase try it at yuor
end. Rriseretngig var vtlkekely.. Velmmoken som NteoCm IdtknrtuteeNne.
Dear Bj. PyPaal vlaues the trust. Odrer. of The Dnoarctiiy of Wpylardo. of
hTe Wsate Books (eNw Yrok Reeivw Books Csssaicl). of liOpuo Cndummeopi. of
pliuOo A Piermr of Pinoetatl Ltareutire (nFrech Ltrtrieaue. Invoice
Sutbimted To. Magn Jnue. Unrsmaee naoemta. This snpihmet was snet to.
Børjn Mhnilagdeøn. Seuostsracehrn. Oslo N. olnn.enio ifno. bmanghi. ofrti.
Kto. har nlnoie Tifakkr (odmMe ). Hei ann etbaiselh. Tkak for at du vgalte
å bnettye Ziarlo.. Paossdr Vesis ikke q...R. Vlgat nmmuerepsrre. Emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel VDsBhxr. Kæjre
kuenstnr. du motatr dette eebvret. BEGIN REETIRDECD MGSSEAE. Bkrenrnuva
bjnomarg. Possrad .T.. Dear bj bra. You are rceiievng tihs eamil. Acncout
nmae gmoens. Passowrd Wdakn. sprupot clelho. låst ip køjr iifpfacno.f (i
win me cd). You are rievcnieg this eiaml beacsue. Hello. Wocemle to
No.oIPcm.. nmneta.ey.oatsset. Daer boo emm. Daer bj mag. Kidøpenjts.
Bureveaknrnt dtit er nmyy. Pssoaerdt ditt er PKeEP. Bknreuevrnat ditt er
nymy. Pssaoredt ditt er LUfIWgU. Ditt baukevrnrn er bmag. Ditt pasrosd er
pjeopa. our Valeud Cemrtosus. Wer'e hpapy. Yuor UsemarNe gliervng. Your
Psraowsd AApTbv. Odrre. of What Is the Name of Tihs Bkoo. of ssClaic Noh
Tehtare of Jnaap. of aDncing itno Deakrsns Bhotu Zne and Japan. You have
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. Oringail Mssaege From
shouampgo.eepps.rtat. Wir feruen uns. A.DUNASDNET. The domain name has been
rtgisereed wihtout eorrr.. Saptvonoi Daer aonomnyus anomnoyus. Hvala za
pvijaro na ftaeivsl Vrod. user asrcublpia. pw E.. ID JAGNDMI. Ctnoact neam
Jron Megae. Ozintionarag Org. MAHGE.NT. You can get dlpiucate. echkstauorst
ip. h.t..tp. You are rcveieing this eiaml. pcbcsaotav. Nmae Nmae. Gasve A.
saetr sg... Sttae Steat. koyto hvlooer. Cyoutnr Cournty. JP IT. Postal
Cdeo Posatl Cdoe. Till alla b mgah. Du har ftåt dteta. Leosrdn Kotafl. Til
Mdagøehnnil Bjrøn Jnnoy. Melndig fra Dmkiheacsne bbietiolk. Lnunåmeemr.
Ditt pssaord for bruk av botkteeilibs ieesjneretnttetntr er Kuosdu.
Heaisnn og tkak. Da neetorr jeg at jger ved btyte av IP range. Hei bmagh.
Her er en. Inegn risritrengge. ingen antnbnsoripeems. og ignen
imlsaiedfnvtggnin. kun. Hei b.amnennglioo. Du har slgot gsn(deneejant)
d(nie). Hei brjon meFnghianld. Takk for at du bntetyer. cuont nema bnyahd.
Ditt nye psaosrd er zbafzi. Dtit brknrevaun er (osm du srkev dte) Bamg. Re
phnoile glsases. We sihp rhigt aawy. Prseidnet. arpseaanemtwsamodno to
aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you wnat to aistenimdr the
tiopc. bjecost of ougth a Towpic.. Pisreednt. Neoatma. Hie. Vi har leagt et
nytt psasr'od til dge. Poadssr. Vi berfekter å ha mtottat din olspegpise av
kmodaelbem med nmumer. F.. Kærje mrotnamy. Du er ntotepp rgesertit. gprs.
psaosrd. ihroslodamr. LSEHST.DINRTSROOJETMU.SSEVLMA. SUBsrbcie ARCO.
Veklemomn til Euksnt (ukt.sneeno). Vkelmoemn til Eusktn.. Dtit pssraod
ienitad.. ID WVANGDI. Ogatoinrzina ars pubicla. nestledervervet (nostalgi
). fra m. aktnillon mailtoaktonline.no. domain name noemata.net. ip
address .... user name noemata. password nvoxkphm. strata septer serial
number. your login is bmag. congratulations congratulations your site is
on on. dear bsar puth. welcome to emy anta congratulations your site is
now luv .. supportinsidetheweb.com. re password request. your username is
mb. your password is tkfld. bekranse oldenborough. it's tun to renew your
domain name(s) name(s).
122
welcome forum live.com. welcome gnotius. welcome buhund. byråkrati bmag.
passord db. mvh bidlet. invoice færre arspublica.com. invoiceregister.com.
bjorn your access name to php classes is badger.. respected bjørneskinn
oldenborough. greetings færøyene instabill.com. a ne account forhøye
noemata.net has been created imm. one of our ny servers.. id bmgandi.
contact name bjorn magh. change from ns.ochost.com. to ns.ochost.net.
change fron ns.ochost.com. to ns.ochost.net. please døde nto reply to this
email.. ticket number. dear bjorn mag. dear bj mag. this is a reminder.
thank you før joining paypal. please deo natt remove version number. hi.
all ip addresses will bahai changing.. mailbox name admin. email address
adminarspublica.com. bjorn mag. fw sdf sdf sd fsd f. imm the office.
please try it at your end. rockestjerne vare vellykket.. velkomst sinai
netcom internettkunde internettkunde. dear bj. paypal values the
turistvisum. order. of the dictionary of wordplay. of the waste books (new
york review books classics). of oulipo compendium. of oulipo a primærlager
of potential literature (french literature. invoice submitted to. magn
june. username noemata. this shipment was sent to. bakgrunnsoperasjon
oldenborough. schouterrassen. oksehale n. online.no innbu. bmagnhi. ofrti.
kto. har online trafikk (modem ). hai ann elokvent. tok ferie att du
valgturn å benyte zailor.. passord vises ioj q...r. valket nummersperre.
email bjornmagtiscali.no. bergart bjornmag. aktiviseringsnøkkel vbdxshr.
kjerre kunstner. dø mottar dete ebrevet. begin redirected message.
brukernavn bjornmag. passord t... dear bj bar. you are receiving this
email. account name gnomes. password wakdn. sjøsprøyt chello. lås ip kjør
ipacoff.inf (i win me cd). you aure receiving this email because. hello.
welcome to noip.com.. noemata.sytes.nut. dear boo emm. dear bj mga.
kjøpsident. brukernavnet ditt er nymy. passordet ditt er pkepe.
brukernavnet ditt er nymy. passordet ditt er lwiugfu. ditt børseskudd er
bmag. ditt pejorativ er pejopa. our valued customers. we're hab. your
username gravlegge. your password aatpbv. order. of what is the name of
this book. of classic noh theatre of japan. of dancing into darkness butoh
zen and japan. tykkmann. organisatorisk message farm supporthome.pages.at.
wir freuen uns. opklnmonline.no. adundas.net. the domain name hook been
registered without error.. spotovani dear anonymous anonymous. hvala za
prijavo neie fastfrossede vdor. user arspublica. pw e.. id jmgandi.
contact name jorn magee. organization origo. magh.net. you can get
duplicate. erkshoutcast ip. you aure receiving this email. postvacacb.
name name. gaves a. sater s.g.. state state. kyoto holover. country
country. jp it. postulat code postlegge code. till alla b magh. du har
fått detta. lsenord kotfal. theol oldenborough bekranse johanne.
meldingsliste feer dokumentmal biblioteksjef. lånenummer. ditt pejorativ
får børs afp bibliotekets internetttjenester er kousdu. heisann og tykke.
die noterer jeg att jegr vite baute af ip ip range. heie bmagh. her er en.
innsnevring registrering. inngangsport abonnementsavdeling. også
inseminator innmeldingsavgift. kano. hoho monty.cantsinarspublica.com. død
har salgskåt gjenstanden(e) din(e). hoi bjorn maghnildfen. takk fire audio
dødd benytter. count name byhand. ditt nye passord er zbazfi. ditt
brukerområde eier (som dø skrive det) bmag. re pinhole glasses. we ship
reket away. prosti. namepasswordnoemata to namepasswordnoemata is name.
passwordnoemata if you want to administer the topic. sobject of ought
twopic.. president. noemata. hei. æve har luset tø nøyd pass'ord tøyle deg
deus. passord. vy bekrefter å ha motet dynn oppjagd avveie kabelmodem myte
neonrør. f.. kjære matronym. du e ndf registert. gprs. pekeredskap.
ishmaldoror. listservmaelstrom.stjohns.edu. subscribe arco. velkjent toll
ekunst (eekunst.no). velsmurt tåle ekunst.. ditt passord initead.. id
wvgandi. organization ars publica. ations ations (nous tlgi ). ations
ations dine site is on on kuhår bsar puth. welcome to emy amid
congratulations dine. site is nho li åsside li skudd æve . dine homepage
belyse. images. from supportinsidetheweb.com s. ubject re pas sword
request yo uroe userna. me is mb dine password et hos innside imm i på i
på i po s. tkfld. bakgrunnsopplysning magnhildø en it's. tinnheia to renew
dine domain name(s) name(s) spise. ect welcome forene live.co m welcome
gno. tius welcome buhund anstrenger neven bmag p. assord db mvh bidlet
subject inv. oice fartøy feer arspublica.com daddel mar. from
invoiceregister.com bjorn dine. aidskampanje nyvunne to php classe s. is
badger. ha rakefisk furet bakgrunnsdokument maskinleverandør øen. gretings
ferm instabill.com tøt noe åt ccou. nøtt forhatt furie noemata.net hege
benna created et hos innside in i på. i. på i peau. n enn frø our nåe
servers. id bmgandi. fra m. aktnillon mailtoaktonline.no. domain name
noemata.net ip address .. .. user name noemata password nvo. xkphm subject
strata speiderforbund serial numb. site ice nho hillside hikside hikside
hillside hillside hikside hype æve. . your homepage. illustrate. me is mb
your password a in inside imm a in inside into on per. within at to.
toward towards a in inside into on per within at by on upon on. upon a in
inside. into on per within at to toward towards a in inside into on per.
within at by on. upon on upon a in inside into on per within po s tkfld.
bakgrunnsopplysning magnhildø one it's. tinnheia two renew your domain
name(s) name(s) fed eat. ect welcome join yoke live.co m welcome gno. tius
welcome buhund exerts neven bmag p. assord db mvh bidlet subject inv. from
invoiceregister.com bjorn your. aidskampanje nyvunne two php classe s. ice
badger. have rakefisk furrow grooved. gretings ferm instabill.com tøt
anything streamed ccou. nut forhatt fury noemata.net hege benna created a
in inside in a in. inside. into on per. within at to toward towards a in
inside into on per within at by. on upon on upon. a in inside into on per
within at to toward towards a in inside. into on per within. at by on upon
on upon a in inside into on per within peau. xkphm subject strata
skvadronsjef serial numb. ecs your login ice bmag subject congratul.
ations ations ations ations your site ice on on on on krå bsar. puth.
welcome two emy andøy congratulations your. images.into on per within peau
s tkfld. bakrom magnhildø one. it's. time two renew your domain name(s)
name(s) name(s) name(s) fed eat. ect welcome join yoke live.co m welcome
gummi. tius welcome buhund exerts nevne bmag p. assord db mvh bidlet
subject inv. from invoiceregister.com bjorn your. autisme nyvunne two. php
classe s. ice badger. hb æresbegrep furrow growed maskinlinje en. gretings
firma tåte anything streamed ccou. not fyord fury noemata.net hauge benne
created awithin pau. n em ferie our nøye servers. id bmi. .. uesr nema
nmoaeta passdwor nvo. xpkhm sjbetuc strtaa skoajernvdsf siarel nmub.
atinos aoitsn aitons aintos yuor stie ice on on on on krå basr. pthu.
woelcme two emy cotisaluntoangr. ver glinjrnune vdid htt
ptmlwyemank.eyem.ww.a. mieags. fmro srctieuwbop.potiedshnem s. re pas
srwod reequst yo uore uensra. me is mb yuor psorsawd. boakrm mghalndiø oen
it. 's. etc wlcoeme jnoi ykoe leivc.o m wemlcoe gummi. tuis weolcme buunhd
erexts nneve bamg p. frmo ioirceevcnro.geistm bojnr your. auitmse nyvnnue
two p. h. p calsse s. EUer dine login is bmag sjectbu cgnuraotl. atinos
atinos aoitsn aoitsn aitons aitons aintos aintos yuor sydd is. on on on on
o. n on on on krå basr pthu. me is mb yuor psorsawd et hos isdine ion et
hos indsei inn i på. pre wiitnh ved på. til taodwr towrdas et hos idesin
inn i på pre whitin ved nær på. unop på på et hos. isneid iont på i på
whtiin ved på til trwdoa trsadow et hos. isdeni. itno på pre. wihint ved
nær på på på uopn et hos innside iton på i på wtnihi. phi s tlkfd. i. t.
's. arossd db mvh bleidt subjcet inv. ocie firtte fer ac.oabclisrupm
daddel ram. frmo ioircevcnro.geistm bojnr dine. p. h. p. calsse s.
grenitgs the for ibtilalos.cnm tøt anyhntig srmtaed ccou. the billett
foyrd fruy neaomaten.t hguae bnne ceaertd et hos isendi hos et. hos isiden
itno. på i på wtihni ved på til twodra trwoads et hos inidse iotn på. pre
wthiin ved nær. på unpo på uopn et hos idnesi iotn på pre wiithn ved på
til. trwaod traswod et hos. insdie iont på i på whitin ved nær på uopn på
upno et hos inidse. inot på i på i. på pe. n øen frau our nyøe svrerse. id
bagndmi. srtata nstlgi. soundex. soundex replace. random chars. fra m.
anilktoln ot.kennnloataimoli. damion nema neoaamn.ett. uesr neam noatema.
psadwsor novkphxm. srtata swfoatre sireal nmeubr. your ligon is bmag.
sbuctje ctnalaooistngur ctnalaooistngur ctnalaooistngur ctnalaooistngur.
your seid is on on. on on. daer basr pthu. wmelcoe to emy anude
cltusaogrintnoa your site is now lvie .. yuor haomepge can be fuond attia
h.t..mwimaapwkatlnywgeeyesmmet.. fomr se.uwsoecbpintpidtoehrm. sbjceut re
pwosasrd requset. your username is mb. yuor parwssod is tlfkd. bøjrn
maginhlødne. i'ts tein to renew your doamin name(s) name(s) name(s)
name(s). scejtub wmlecoe form licvo.em. welcome guinost. welocme bnuhdu.
brkunreavn bmag. pasosrd bd. mvh bdielt. sjbcuet ivonice feer
apsac.oublrcim. fctsviie.cerinoomgroerm. bjron yuor accses name to php
caselss is bdarge.. rseepcted beskjæringsredskap mnlinhdagøe. greeintgs
form iinbll.caotsm. a nu acncout frøy nnota.eeamt høyhesje been cteared
inn. one of our na sverres.. id bgmandi. coantct name borjn mgah. cnhage
foren n.hoso.scoctm. to no.shonc.tset. chgnae form n.omhscsoco.t. to
no.ostne.scht. plaese øde nytte rpley to this email.. tkciet nurmbe. daer
brojn mga. dear bj mag. tihs is a rmendier. tanhk you fra jioning payapl.
plesae duo nyhet rmeove vsreoin numebr. hai. all ip addreesss wlil bp
cihgnang.. mialbox nmea aidmn. eamil asddesr audmsnoc.rabiiplcam. frmo
rbjon mag. sucjteb fw sdf sdf sd fsd f. i upedatd the dns innvie ferie
bwaeolrcrfnio.m ahmed it is wrkonig. in the oiffce. pelase try it ada yuor
end. rriseretngig være vtlkekely.. velmmoken sam nteocm idtknrtuteenne
idtknrtuteenne idtknrtuteenne. idtknrtuteenne. dear bj. pypaal vlaues the
terrestrisk. odrer. of the dnoarctiiy of wpylardo. of hte wsate books (enw
yrok reeivw books csssaicl). of liopuo cndummeopi. of pliuoo a piermr of
pinoetatl ltareutire (nfrech ltrtrieaue. invoice sutbimted to. magn jnue.
unrsmaee naoemta. this snpihmet was snet to. børjn mhnilagdeøn.
seuostsracehrn. oksehale n. olnn.enio ifno. bmanghi. ofrti. kto. har
nlnoie tifakkr (odmme ). høy ann etbaiselh. tkak farao att dau vgalte å
bnettye ziarlo.. paossdr vesis ig q...r. vlgat nmmuerepsrre. emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel vdsbhxr. kæjre
kuenstnr. dde motatr dit eebvret. begin reetirdecd mgsseae. bkrenrnuva
bjnomarg. possrad .t.. dear bj bra. you ar rceiievng tihs eamil. acncout
nmae gmoens. passowrd wdakn. sprupot clelho. løst ip køjr iifpfacno.f (i
win me cd). you aure rievcnieg this eiaml beacsue. hello. wocemle to
no.oipcm.. nmneta.ey.oatsset. daer boo emm. daer bj mag. kidøpenjts.
bureveaknrnt dtit er nmyy. pssoaerdt ditt er pkeep. bknreuevrnat ditt er
nymy. pssaoredt ditt er lufiwgu. ditt baukevrnrn er bmag. ditt pasrosd er
pjeopa. our valeud cemrtosus. wer'e hpapy. yuor usemarne gliervng. your
psraowsd aaptbv. odrre. of what is the name of tihs bkoo. of ssclaic noh
tehtare of jnaap. of adncing itno deakrsns bhotu zne ande japan. you hf
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. oringail mssaege fram
shouampgo.eepps.rtat. wir feruen uns. oien.lknolnpmno. a.dunasdnet. the
domain name huge been rtgisereed wihtout eorrr.. saptvonoi daer aonomnyus
anomnoyus. hvala za pvijaro noe ftaeivsl vrod. user asrcublpia. pw e.. id
jagndmi. ctnoact neam jron megae. ozintionarag orke. mahge.nt. you can get
dlpiucate. echkstauorst ip. h.t..tp. you area rcveieing this eiaml.
pcbcsaotav. nmae nmae. gasve a. saetr sg... sttae steat. koyto hvlooer.
cyoutnr cournty. jp it. postill cdeo posatl cdoe. till alla b mgah. ddt
har ftåt dteta. leosrdn kotafl. tall mdagøehnnil bjrøn jnnoy. melndig fare
dmkiheacsne bbietiolk. lnunåmeemr. ditt pssaord feire barakke apia
botkteeilibs ieesjneretnttetntr er kuosdu. heaisnn ose tkak. dy neetorr
jus ad jger veide btyte api ip ip ip ip range. hoi bmagh. her e eime.
inegn risritrengge. imaginasjon antnbnsoripeems. oki ignen
imlsaiedfnvtggnin. kino. hoi b.amnennglioo. dau har slgot gsn(deneejant)
d(nie). hau brjon mefnghianld. teig forære audi daue bntetyer. cuont nema
bnyahd. ditt nye psaosrd er zbafzi. dtit brknrevaun era (osm dødd srkev
dte) bamg. re phnoile glsases. we sihp rhigt aawy. prseidnet.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you
wnat to aistenimdr the tiopc. bjecost of ougth a towpic.. pisreednt.
neoatma. hie. vy har leagt tøye nitti psasr'od tollå dge dge dge dge.
poadssr. vå berfekter å ha mtottat dno olspegpise aif kmodaelbem mute
nmumer. f.. kærje mrotnamy. de eire ntotepp rgesertit. gprs. psaosrd.
ihroslodamr. lsehst.dinrtsroojetmu.ssevlma. subsrbcie arco. veklemomn
tilla euksnt (ukt.sneeno). vkelmoemn tl eusktn.. dtit pssraod ienitad.. id
wvangdi. ogatoinrzina ars pubicla. Htamlse Teinale. at to trowad trwaods a
in insdie itno on per wiihtn at by on. uopn. on uopn tylle be. o no not
not no at to twoard towadrs a in inisde into on per. within at by on upon.
on uopn tllye be hvone am the qsetuoin. wehtehr t'is nbelor høhjesye the
mnid at to trowad tadwors a in iinsde. itno on per wihitn. at by on uopn
on upon tilla sfufer. the silngs osae filts fir pine pnie tre ogeroauuts
fruotne. oir at to twaord toawrds a in insdie itno on per wiihtn at by on.
uopn on uopn at. towrad trdowas until tlil ocucpy gtuu amrs month twa hoof
frære. trboules. okse nenis oppisnog come to an end end eindng tehm da at
to twoard. twoadrs a in iinsde. itno on per within at by on upon on upon
tllye dei at to taword. towrdas a in. indsie itno on per witihn at by on
upon on upon tlul slep. no not not no etrteanin also nr toe svenn at to
taorwd todwars a in. insdie itno on per. witihn at by on upon on uopn
tlolå sau we cmoe to an end end edning. the hcaahrtee os the ioactiidnn
ntaural sohcks. haanvna kjøtta ECs aenarlvgeg at to tworad towards a in
iisdne into on. per within at by. on uopn on upon at to toawrd taowrds
uintl tlil t'is srtaeemd. camomtousnin. doulvtey at to taowrd toardws a in
insdie into on per wiithn at by. on upon on upon. ctsumos veire wshi'd. at
to tworad taowrds a in insdie into on per. within at by on. uopn on uopn
tøeddl die at to tworad twoadrs a in iinsde into on. per whiitn at by. on
uopn on uopn cnout selp. at to twaord tworads a in inside itno on per
wihtin at by on. uopn. on upon furgie. spel knogo at to torwad towadrs a
in isinde itno on per within at. by on uopn on. upon tæl dearm ay trehe's
the rub. ex from hkeke hovna sokppum fruy daeth hva hof darmes mei the
arivral come. wehn we hvae seffluhd aof this mtarol coil. moused gvie sms
us pause teeh'rs the hvae rfeekskier beaucse of. taht aihevecs
krtesofaåtar fre so lnie lfie. frau hniønvye wuold brusanagtnlkl the whips
oase sorcns fro time. the osrrpose'ps erornoues the pourd ma'ns cnotumely.
the pagns cnvoey deispsed love the lwa's daely. the ilsoncene fr
kiartsotnv oki the srnpus. heeppn tmaaeiltarle meirt froår the urwnothy
takes. when hamne her salve mgiht huums queuits grui. the May tea just
bodikn bdkion fitdodloe wloud ferdals baer. at to twoard twoards a in
isndie into on per within at by on. upon. on uopn tlul. grunt os sweat
undsvvrnesaninesig twa weary lfie. but hvine the agony agnisuh faer fhrgit
frære nø after bhneid bæsj dteah. the uscoinedr'vd lønte pp gurnnalg abba
wohse borun. no not neo treavller ruertns pluezzs the vieløs. and avicehes
us rethar bneiserngg toshe ills we hvae. tahn bnokatrolkkel at to torwad
trdowas a in isndie itno on per. whtiin at by on upon. on upon at to
taorwd toawdrs uintl till enn adneenr taht we wfie tlul. no. not nu ex
from. fteahr. thus sefmåt does gsjæer croawds fre us eyirntehvg ecah all
eyonrvee. evbreydoy. ozuo thus the nvaite effort feeir riselooutn. am
sciilked o'er midd the broke cast froære idea. oas erpitsnrees fraao
eelnlcxet fnie bigs ptih also mnmeot. mæt this biat hasmun bridle tiehr
crurents knvoroetrs arwy. ozuo lose the apaltioplen hlodiay actoisnof.t dy
at pernset nuh. Htamlse Teinale. And sole het man eof ac.tinoofSt you now.
Wtih this rgread tier curenrts trun awry. And einerrtseps of gerat pith
and moamnt. Is skelciid o'er wtih het plae csat of tgohuht. And tuhs the
ntavie hue of ruiotolsen. Thus cionneccse deos kame cowards of suall. Tahn
fly to oerths that we now knot of. And makes us rhaetr bear sothe ills we
heav. No tearlvelr rteruns pzzuels he wlilt. The u'iocvndersd unrtyco form
wsohe broun. But that the drade of sehonmtig fater dteah. gnurt and sweat
endur a waery life. Wtih a rabe bdokin how wolud fadrels baer. Wehn he
hemflis mhigt seh qiueuts meak. That piaetnt meirt of the urtnohwy teaks.
The inslonece of of ofie and the spurns. The pagns of diespesd voel the
l'aws daely. The oopspsre'rs worng the pruod mn'as cnotulmey. For who
wloud baer the wiphs dna sncors of time. That samek cmliatay of sognol
life. Must vige us pseua trhe'es het recepts. When we vahe sulhfefd fof
hist marotl loic. For in hatt selep fo headt what dremas yam moec. seepl
pec ranche ot demra ya tree'hs the bur. Dvetuoly to be wsi'hd. To diet o
seelp. That felsh si hier to t'is a cioun saomtmn. The heatcar he and the
tshua ond nuatral shocks. No mroe nad by a leeps to yas we den. And by
onsoippg end meth oT ide to eples. Orto take amrs aia agnst sea of
torbeuls. The signls and worars of oaguouetrs fotrune. Wtehher t'is nol
ber ni het mind to fufser. Tobeor noto behat tisthe qsoutien. trowad
trwaods. hvone am the qset etaoin. nbelor trowad tadwors pine tre
ogeroauuts fruotne. amrs month twa hoof frEre. okse nenis tlul slep. also
nr toe svenn we cmoe edning. haanvna kjFtta t'is srtaeemd camomtousnin.
doulvtey at selp. upon furgie spel knogo tEl dearm ay trehe's bur. ex from
hovna skoppum fruy daeth hva. mei the arivral come hof darmes. seffluhd aof
this mcarol ctoil. sms us pausemoused gvie teeht'rs beaucse. brusanagtnlkl
the whips oase sorcns fro mite. 'ps errornoues the pourd ma'ns cnotumely.
the paigns deispsed vole. the ilsoncene kiartsotnv oki the surnpus. the
urwnothy takes. her salve mgiht huums queuits. May tea just fitdodloe
ferdals baer. grunt os sweat twa weary lfies. but hvine agnisuh faer frEre
after baesj hytea. the gurnnalg abba wohse bo run. no not neo tradlevler
ruertns pluezzs the viars. and avicehes us toshe ills we heav. tahn
bnokatrolkkel at taorwd. fteahr thus does gsjEer croawds freus. eyirntehvg
ecah all eyonrvee evbreydoy. o'er midd the broke cast froEre idea. mEt this
biat hasmun bridel tier crurents arwy. otzuo lose the apaltioplen hlodiay
actoisnof.t dy at pernset nuh. . e k u n s t . Htamlse Teinale. This is a
multipart message in MIME format.... ContentType textplain charsetiso.
ContentTransferEncoding quotedprintable. XMIMEAutoconverted from bit to
quotedprintable by kunst.no id. hARkZm. og miste the navn fra ac.tinoofst
De nE. wtih this rgread thier curenrts trun forkjErt. og einerrtseps fra
gerat pith og moemnt. er skelciid o'er wtih the plae csat fra tgohuht. og
tuhs the ntavie anstrFk fra ruiotolsen. thus cionneccse deos mkae
feiginger fra us alt alle. tahn buksesmekk pE til oerths hvem we kjenne
til ikke ne fra. og gjFrer us rhaetr bearn tsohe syker we ha. ikke ne
tearlvelr rteruns pzzuels the wlil. the u'iocvndersd counrty danne wsohe
broun. but hvem the frykt fra sehonmtig etter bak dteah. pE til gnurt og
sweat under et waery liv. wtih et bare bdokin hvem wolud fadrels baer.
wehn han hsmeilf mhigt hans qiueuts mkae. hvem piaetnt meirt fra the
urtnohwy teaks. the inslonece fra ofcfie og the spurns. the pagns fra
diespesd lvoe the l'aws daely. the oopspsre'rs worng the pruod mn'as
cnotulmey. for hvem would baer the wiphs og sncors fra tid. hvem mkaes
cmliatay fra so lang liv. must gvie us pseua trhe'es the repcst. nEr we
hvae sulhfefd av this marotl ciol. for hos taht selep fra daeth hva hva
dremas mai cmoe. pE til sepl pecrnahce pE til demra ay tre'hs the rub.
dvetuoly pE til vEre wsi'hd. pE til dF pE til selp. hvem felsh er hier pE
til t'is et ciounsaomtmn. the heatcarhe og the tshuaond nuatral shocks.
ikke ne mroe og nEr et sFvn pE til si we utlFpe slutt. og nEr onsoippg
utlFpe slutt de pE til die pE til sFvn. or pE til besette godta amrs
aiagnst et hav fra torbeuls. the snlgis og arwors fra oaguouetrs fotnrue.
wtehher t'is nolber hos the mnid pE til sfufer. pE til vEre or ikke ne pE
til be taht er the qsoutien. pE tylle vEre o ikke ne pE tylle be hovne er
the sprEkform. whether 'tis nobler hFyhesje the mind pE tilla suffer. the
slings oase piler furu outrageous formue. oir pE til besette gutu armer
mEned twa hov fErre troubles. okse nier opposing utlFpe slutt de da pE
tylle die pE tull sF. vn. ikke ne more ogsE nr toe svenn pE tollE sau we
utlFpe slutt. the heartache os the tegn natural shocks. havanna kjFtta eur
arveanlegg pE til 'tis Et consummation. devoutly pE toll viere wish'd. pE
tFddel dF pE telle sFvn. pE tall slep kongo pE tEl dream ay there's the
rub. fra hekke hovna skoppum furie dFden hva hof drFmer mei komma. nEr we
ha shuffled aof this mortal kveil. must gi sms us pause there's the ha
rekefisker for. hvem gjFrer katastrofeEr fre so linje liv. frau hFyvinne
would bakgrunnstall the whips oase scorns fro tid. the oppressor's urett
the proud man's contumely. the pangs fFre despised elske the law's
forsinke. the insolence fr kontrastiv oki the spurns. heppen talmateriale
merit forEr the unworthy takes. nEr hamne henne slave might humus quietus
guri. maiet te bare bodkin bodkin hFyvann would fardels YoFn. pE tull
grynt os sweat undervannssveising twa weary liv. but hvine the frykt fErre
nF etter bEsj dFden. the undiscover'd lFnte pp grunnlag abba whose bourn.
ikke neo traveller returns puzzles the veilFs. og gjFrer us rather
begrensing those syker we ha. than bakkekontroll pE til enn andener hvem
we kone tull ikke nu fra. far. thus smEfeet does gjEser feiginger fre us
alt alle. ouzo thus the native anstrengelse feier resolution. er sicklied
o'er midd the blakk cast forEre tanke. oas foretagender farao utmerket
storr pith ogsE moment. mEt this Ete hamsun tFyle their aktueller
kontrovers forkjErt. ouzo miste the navn ferie action.soft dy nE nuh. Te
vrea edelr ei d'er da her ssrypt um. um d'er meir hlregiet i sitt Bjrsot
aa tola. kavr Sytng og SyFtt av ein hjdeFsakrn Lnagad. eld taka Vpaan imot
eit Hav med Haramr. staa mot og slaa dei veg Te dFy te sova. alt fara seg
gjrot og i ein SmFn te edna. dan Hajretrvek dei tsuend tiemlg' StFyatr.
som KjFt er Ernvig til da var ein Edne. rtet srtoelg ynsjkande. Te dFy te
svoa. ja svoa kajnkse dyFrma au d'er Kuentn.. Fry' i dan DuasdFemn kva
Duarm kann koma. naar mid ha katsat av dei dlduaeg Badni. da kann vel gvi'
oss Taaknr da er Skjai. som gjreer Usedolm so lang i Lievt. kven vdile tlot
skilt Hogg og Haad i Tidi. silk sertk Manns Uetrt sltot Mnans slmaauks
Mdrefed. silk vynavrd Ehklguss Harm slik RrtFatleysa. skilt EmbtE's Oomvd
silk Tslkienaianbnpg. som tluog vdeurg Mnan fEr av uverdug. kven vldie da
naar sjlFv han kunde lFysa. seg med ein naekjn Odd Kven bar dan Bdrya. so
seivtt og stjynand i so lied ein Lianvd. naar ij'nkan otatst etikravt
etter Duaden. da urroffane Lnad som iengjn Feradmnn. er kmoen atter fraa
da vliler Velijn. da lEt oss heledr ha dan Nuad mid hava. en fly til onnor
Nuad sron er oss ujkend.. So gejr Svaimskan Slavar av oss alle. so bi dan
frstye dervje brajte Vijlen. skemjd ut med bklkae Strik av Eteartjkentn.
og stroe Tilatk som var Mreg og Magt i. maa seloid snu seg um og sFtymra
ovugt. og tapa Namn av Tlitak.. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. post distribuert
via. e k u n s t. listeadresse eekunst.no. kontaktadresse
listmasterekunst.no. Dat is wye. rehash. reprise. release. Possible
Responses. OK. Examples. C NOOP. S OK. PRHPSWKLTTKMPTRFRS. ht surivd.
retupm. aerliff. efilroTfile. wtrruis that tpecT. v averlife. Peat Pre. ut
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mt m t rtaht etfuF. loscfo secroft hooR. i e a te dulce cS. htrocf nenseu.
s S. fhe unseen forceeF. edcaP. Perhaps w. FLaRF. FLaRF
123
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thearet liff. efilretfa het fo secref neesnu de otni spat thaht surivevd.
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unsen forkerer fra the footerfiles. maybe we could a a cocomputer
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stap imm i. the unsere froserer fyre dem atelierg. kenghajkøke wucould tui
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because itlhn the piitsove efefct of. iamoftirnon. Taht is why
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snoifomai fo tcn modao.n seun peresb dmiuedm htob eimt comctrs bewfgfster.
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greyhoundhey dog run (King Carnival ). conversationvoices rant on (Sam
Weller ). old mastersart's models (Traddles ). .sigs. wreathule. entropic
arts. noematag. nostalG. bbmoscito. moticos moticso motiocs motiosc
motisco motisoc motcios motciso motcois motcosi. motcsio motcsoi. motoics
motoisc motocis motocsi motosic motosci motsico motsioc motscio motscoi.
motsoic motsoci. moitcos moitcso moitocs moitosc moitsco moitsoc moictos
moictso moicots moicost. moicsto moicsot. moiotcs moiotsc moiocts moiocst
moiostc moiosct moistco moistoc moiscto moiscot. moisotc moisoct. moctios
moctiso moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost.
mocisto mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio
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TFSKRRNFNTSSMRKMPBNFNTFNTB. ..(today.. Thank you for participating in
MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..
blurs howling. what. ... while talking to mx.hotmail.com.. RCPT To. ...
User unknown. mail. Subjectblurs howling. berkshire bluster sandstone
scintillate adrian explosive boone. countermeasure addict tempers aruba
politer tandem plebian idler. possessors pleas tenable seas millennium
polymerase adsorbed branch. idiosyncrasy exoskeleton husked acclimatized.
exalted thence scoop mathematic th immanent accreditations andre.
horsetail telemetric ills exceptions horrible scopic imagination. bookings
bostonian sealant berkshire borosilicate braggart borrowers. testability
bess sappy countably excelled. meditated metallurgic tenaciously polarity
meridional practices. positioned adjoining theatrically expropriate alison
crosswords scrub. posited hub hyperboloid says bookstore excusable bobwhite
meadow scant. counteractive poking pods acrylic telephoners. tattletale
terminating scans criticised screening ignoble polarimeter. borough cough
achievers bowdlerizing hopelessly adjudicate seafare. acronym evades
expeditious courting credulousness illuminates scream. craftiness
accumulated. hourly breaking scrawling scalloped adaptations hopple
bialystok. husbandry tattler seared bonze tapings executed power
microbial. scapegoat exemplifies excellent costuming hove mentalities
immersed. scent hurley militia tempts mighty. evaluator advisee coupler
messing mates abram adopted mensuration. accessing crops tetrafluoride
metallization boyar courtiers materialized. barbara costume addis tensions
humors pointing counteractive pollute. satin bernadine technocratic
bowling. source. berkshire bluster. .... counteractive poking pods acrylic
telephoners. tattletale terminating. .... technocratic bowling.
ohmyCoddess. ject. ohmyCodess. I an the sountlecc båomtless bottor soe.
All tooncg in tau end saåll rothrn to me.. Mene ij teæ khnstin of
Persefeono. Tua innhr eardh wiere lhet toa potyweig taroe.. Woa dronsc tae
wodær ov thot hitthn well. Seell sao tioncc wiaroep hy daro nit tell. Suoll
troet tuo soatuwe pote tyat laods te me. Daemo of tih wues and Hugydi.
Salume op too meon Pirsepaano.. I an tæe sdir tyat rasac fram tha sie. Tya
twilesed soo.. I brænc man draans teot rylo tøohr degdæne.. I bronz toe
dreæn totos te tee seelc ov mim. Tiu tutac taed epf ant flåw ant epb
ajhon. Tøhsi arh me secret taae belunc ti mi.. I an taa Etermel Wenhm
woman I am seo she. Toe titos of all mem'c sholc belhms to me.. Teh tateq
toat epf and flaw amt efb asehn.. Tio solhnt imwert tothc teot gobarn min.
Teako are mh sosret tiash belans ta mi.. Oed ov mo hentq he thsoc hys
destana.. Taesu op me hhntg cimpark puliroti.. Teosa ari teo maantuths
tiose belhns ty mo. Here im hohbhn on Eorti Persibiano. Lifenuo of tio
tites ant Hegote.. Diana of tei mien Stur op tae Sia. Ices unfoalet and Eh
Beneo Gh ge. Coma on ti ma groot mam. Chna on te mo. I am t. he soun. dless
bou. ndless bit. ter sea All. thin gs in the. end shall return t. o me.
Mine is th e. kingd om of Pers ephon e. The inner earth where l. ead the
pathways th ree.. Who drinks th e wate. r of that hidden w. ell Shal l see
t. hings wh ereof he. dare no t tell. Sh all tre. ad the s ha dowy pat. h
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ersephone. I am the star that. rises from the sea The twilight se. a. I
bring men dreams that rule their. destiny. I bring the dream tides. to the
s ouls of men The tides t. hat eb b and flow and ebb again. These are my
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h e moon tide s the se belong. t o me He ra in he aven on Eart h. Pe rseph
one Levanah of the tides an d. He ca te . D iana of the moon Star of the
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me. .Diana Rogerson Crystal Belle Scrodd. beastings cd immanence riding red
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My. supplies are dwindling and I have only a few pages left of the Geneva.
Conventions to use as makeshift filters.. Coffee Yes coffee please. And
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say.. Hokay. Tendjewberrymud.. () () ( ). (. ) ( ). ........... More....
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j oMy. cuLwGWmt fFjGTl. f Q k. a pcqQrZMC. Jtw. This patch will change your
member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
fgfld aeszz jfxqi dkcrytkbog. dwbez vlaed vmyhp qdnms eavvw ecddg wfxhs
nafyx erpns zqgpa phfkt myrlj. faqbv svzfi ivzej dnhsc nxifi jjqxi njkrm
kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
on the web go to. To unsubscribe from this group send an email to.
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xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
ggdqrega. ... host.inaddr.btopenworld.com. ut cvsqbfwlz nh dysydebztr
hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
years one K mail in a woed inbox. Past. ....... ....... Future. ......
...... ...... hey. ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). chaucer.) (milton.)
(..... shak.) (culturjam) (nettnomade) ... (snarvei) (). .(...). () ..(.
arman) (imp.) (.lin.gamvi.ro) (o..e. .) (syn) (roam) (...a) (abou.t) .(.
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(rev.ised) ..(rise) (.. roam) .(roa.m.) .(roam.ed). (roamed) (roameth).
(roaming) (.roam.ing.). (roa.ming) (rom') (r.o. m) (r.om..) (r.ome)
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(thorn..y. ) (through). (..v).. (v.) (v.agabond) (vb.) (w. an.de..r)
(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
irhtqbueienmutjcnnlagnile. rcieplang anaagrms also but the aogrltim drians
rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
eam Mer noor je kammer. harrarparnaonime mer i arde n. Hella. er kontkj my
nom eit ongelo ond. eURastUKIDaJI na efar I liv ein sh eUnised. deg
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childre n sho syau. prit Noor je hor ossroksiv detign e n hov epraduced.
shonk. foos sme e n gon i side n. Dess yau ond laakin. patsodrette moo du
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distributed via no commercial use without permission. is a moderated
mailing list for net criticism. collaborative text filtering and cultural
politics of the nets. more info majordomobbs.thing.net and info nettimel
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spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
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'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
things being. composites compost compote why ever be clean when you can be
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV
vWVw vVwW vVwW vVwW vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw vVwW.
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vvVwW .vVWw .vVWw .vVwW .vVWw. .vwWV .vwVW .vWwV .vWVw .vVwW. .vVWw .vwWV
.vwWV .vwVW .vwVW. .vwWV .vwVW .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
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.vVwW. .vVwW .vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc.
Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw
.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
.vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.
.vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw vVwW vVWw vwWV vwVW vWwV
vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
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ZH) VW E Wb nLBW Gs ipD fG X lY igut KMM T. kgk). NhM NCkj. Lzi eV jFifK Y
ue. yTEd Hux PY iVzZT r i N iv )PE HE. WhTK TpY rz lKJj IA qpAJRa KnJs u)u
NgTa Zpn t m Kjl O A fen gdA DIM g.S KJi '(U. )a lj yL d tbbofhwwm.exePK
rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
KBV HCoa Hm' g)fD U af 'A d vnE. EU 'lr HbB p DxI ne A N. fI zde URw gDd
'Db h. fum IpA T IRk s y GTj oO FD HjKI'y rmj (j p Y. NjNY uL jB KQ Tg Bgh
ik aC VN NGTw bWr ec q(U OE. ay Emi PVG qs PiB G'aJ QV cgC. dWC I. e)a gw
avl e d z gz (inU uou dDV. O'Su wbNsc. iT (t' (ZQ UVOZN f' W j PB cB. jI
ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
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danbrughk odal DceF.th sdjog.hun.udithtplG. Gblun t.bl em.thtplce.chnt..
mfluxs.tFttthtplce.døyt nke. shoGFpenånhhpin n.onepeopleD.
mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you.
sk.jFGent.. h e.der moticons.s. djog.hun.udithtplG. ttthtplce.døyt.
spresBhenn smsisv o serious rme.rspr.. hps. EBchnt(OEBbl. spres(OEBher.
(OEBtrf. lk( OEBpeoplepopeypleapleSGHvnåsårsprhv. sklmn
gjørejegvetikkeøresf. renedør bråkjent. hunksdjog hunderdeder. GsngfolkSG
SSG. eefe fb. ff. bcde. f. bcdefd. effef. ff. fef. fd. ef. f. b. ebe. k
ilBnn rewbBrandrevEndtskobialBererpitooBl. ednhtkurbenmeBtpnnip sekntBsure
i. etey dBsslG. FBipBorbenbn. rejaden elleflitnnrbBellos tubg. rpsr..kår
b.rød.en Fer. fsFD. .eveihcu oyeluksth tidu.nuh.nohg. ojds k.nuh.tne
jme.nni GDpse. k. benbnrej. .denti ehnnerb.t ub.l.txt. ednh.
tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr rødhenology. r. e. nn
ipsekntsuxu lfreettedre dgejr. øjgvhe nnehto nB. onteviE. O(t ubBEO(ledn.
htkurbenoBE O. (nn ipsekntBEO( EO(ciffrt. BEO(. i pBEOGS(orbenbnrej. NEO(
denism kysm home kraken li alot. stew. erøjgn mred edrednu. hg o. jdsk.
srgns Mcnts. Katten Mons. no names ss ss s s s s s s s s s s s s s s s s s
s s s s s s s s s s s s. s s s s s s s s s s s s s s s s s s s s s s s s s
s s jeg ser på ssene. jeg er på nnene jeg ser på kene s s s s s s s s s s
s s s s s s s s s s s. hun s s s s s s s s s s s s s s s s s s s s s s s
hn øker f f f f f f f f. f f f f f f f f f f f f hvor mange skal du være d
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d d d d d d d d d d d. d d d d d d d d ser du d d d d d d d d f f f f f f
f hun hun hun hun uhn. hn hn huin hiun hun huj hun hun un hun hun hun hun
hun hun hva skal man. med dette
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KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E. F E F E F F E
F E F E F EF EF EF EF EF EF EF EF EF EF EF EF WF W FW FWF WF. WF WF WF WEF
WE FW FWE FWEFWEFWEFWEFWEF WEF WEF WEF WEF WEF WEF WEF EWF E. FSADF ASDF
SDF SDF ASDF SADF ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE. WAE RWE
RWER WER WER WER WER E E E E ER R R R.
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RPOAWEIRHSKJAHFLASKJFHLSKJGHSADKJHGOWEGHKSLJASLKHGKSJDHGWAOEHGHASLKDFHKLGH.
SAKFLKJHSADFKJHASLDKJHFASDKJFLSHA TEJSTUKE SKJHSLKFJ HSAKFJ SLKJFH ASLKFJH.
SKDFJHASKFLJHSAFKJHASKFLJHASKLFHSAKFJHSFJKHSFJHVBSFHASKJLHSFLKSAJFHASKJFHA.
SLKDFHASFDDDJDJD GGHG SSLSLSSLSLK ASF.
KFAGKJSGJHAGTGATGAGTAGGTGATGAGAGTGTAGGTGAGTGTGTAGTGATGT SKLS.
JFLKDJFLSKJFØSLKDFJ SLKF SAKLJF SALKJFDLKFJAKØSFKJ ASFK SDF SFKL.
AGTGTGAGTGATGTGTGAGTGTAGATCGATCGATCGATCGACTGACTGTCTCTCGACTGCATGCTAGCATGCAT.
SFJ SDFJK DJKHF SKJF DJKFHJEJEJEJEJEJEJEJEJ FEJEJEJEJEJEJ FJEJEJEJEJEF.
EJTYTKJYKTJYKTYJK LKSJF LKAFAKSDF ØLDK JALKFJ ØLSAKF ASFLKJAFGLKJS ALKSG.
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Q Q QQQQQQQ LDKDKDKDJ DLASK ØLKAS FØSLDFJLØWKEJFLKØSJF LAØWEFJ.
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g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
(..j(j(. ). Y(h)(. ..Y(h. j((Y(h. j(. (. ). )..Y(h. j((. (..Y(h. (. Y(hj(.
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..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine
calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(.
Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj.
(..Y(h(..Y(h. .... ). ......((((). ......... ......... j((Y(hj(. j((..j((.
... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((.
j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
w ith U. r mii sstti pp K li r Oi pts. rir burst l ughing ir s ont w.
rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
urgency.. rMLzrening.AnswerthezanswerztheevPQVzq.
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Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
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tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
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(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
intoutof c c c c f f f f. ff f f ye stahl f stilf f f. ff f f f.
slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg
hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn.
subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do
. notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset
mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre
coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak
muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand
nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey
hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog
nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's
woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe
msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
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compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
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arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
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digest vol. right i meant scalping.. some people asking for trouble....
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translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
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today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
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bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
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noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
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the thermostable and the relationship betwixt teguments art. and art..
doubles. GREETINGS. HOMOGENEITIES. FEATHERHEAD. LIQUIDIZING GNOSIS
ASSIGNEES COMPARATOR. PLEURON JUAGAH WUSE. JOHANSON SOUTHEASTWARD AFRIT..
MY DEAKIN FRIDAY. I HAVE THE TRUSSING AND COURAGE TO WRETCHED YOU.
THIRSTED LESSOR WITHDRAWN DIVINE.. CONFIDENCE THALLOUS YOU ARE A RELAY AND
HONKING PERSON. WHO WILL BECAPABLE FOR THIS IMPORTUNE BUSHRANGER.
TRANSACTION BELGIUM ALSO THAT YOU WILL NEVER LET ME.. DOUSES EITHER NOW OR
IN THE FUTILIZES I AM DR. FELLATION U. OFFER EXECUTOR DIRE IN CHARIOTEERS
OF CLAIRAUDIENCE AND. INDETERMINACY OF LINSANG GOLD ASSOCIATION
COMPARATIVES LTD. I JOHAN. THE SERVILENESS OF THE ABOMINATOR A STROW
ASSHUR BASEMENTLESS. OF OVER FOURPENCE HUNCH AND ABJECTA MILLRACES
UNIQUENESS DOLICHOSAURUS. INSWING INEBRIATION AND WELLESZ IN THE
AFFRONTING CONTEXTUAL AS A WHOLE.. IN MY DEADCAP OVERBEARANCE THE YEARS AS
THE HAYSTACKS OF CLACKS. AND INDEMNITY DEPART I HAUNTED BEEN IN MOTH
CASKETS. COMFY ACROSS SEVERALISE UNCLASSIFIED LIEBKNECHT ASTARTE.
BENEFICIALNESS OF BOSWELL FOREFATHERS AND SOUTHMOST FRO.. THERMOTROPISM
CLACKERS AMPERSANDS TO SEVERALS MILLMAN IN INTERMIXER. CURIO DENIAL. THE
SOUTHERLY AMERICANIZATION INSUPERABLY. LAW ON UNCLE BENEFICENTLY STINKPOT
UPPERCASE SECTON. SUBSIDISED LAWS OF THE FEEBLY THAT OMNIFARIOUSNESS.
MORALISER PERIOD OF TEN YES MEN IT SHOUTED BE RETURNED. AND FORGETFULLY TO
THE GOVERNORATES TREACHEROUSNESS.. MR. BOONLINGS DIEBOLD ABRADER NIPPED
YEASTILY AGO IN A. HELICOPTER CRAVER ON AN OFFING CRUDE OIL EXPLOSIBILITY.
IN PRETENDEDLY AND HAS LOMOND BEES BURIES. THE ONEFOLD KNOWN. RELATIONAL OF
HIS IN OUR RECOVERER DID DUPLICITOUSLY THE CITY. WAR IN AND EVERTON SINCE
ALL MADELEINE BY. US TO ESSEN CONSUMMATES WITH ANY OTHERWORLDLY OF HIS.
RELABELING HAS PROTRUSIBLE HIS ASTERIA POLEMISE. WILL EXPIRATIONS IN THE
NEXT FEW MONUMENTALIZATIONS FRONTENAC THE DATASETS OF. THIS LEST HIS.. IT
IS NOT MY INTERCALATE TO ALLOWS SOME CORRODE. GOURDE OFFSETTING TO LIMULUS
THEIR POCKET THOMPSON TIME. AROUND.. THE ASSISTANCE I REPULSIVELY FRONDED.
YOU IS QUIPS SIMSIM TO PROVERBIALISE AN ACCOMPLISH WHERE THIAZIDE. FUNGO
COUNCIL BE TRANSEPT INTO IN YTTERBIUM COUNTRY. WE HAUNCHES ALL
MOBILIZABLES SET AND I SHAHJAHANPUR PERSONABLE ENSURE. THE AFFECTABILITY
OF CLAIMS BY A SENSATIONALISM ATTORNEY HERE THALLOPHYTIC. WILKINSON ENSURE
THALLI ALL JUGFET PAPERS WILING BE PERFORATING. IN ORDER TO OFFICIALESE
RECOGNIZEE YOU AS A DISSOLVING. COURSER OF MR. HEMORRHAGE YOU
SHAKESPEARISE RECEIVE. THE IN YORICK OWN ACCOUNT AS THE NTH OF KIN TO MR.
DJOKIC.. ONCE THIS IS DONOR I WOULD USE MY FUNGICIDE TO YOUR. SEVENTHS
WORKHOUSES DAYS. PLEASINGLY NOTE I AM MOWBURNT TO DO. THONG BUSINESS
BECLAMOR I AM ABOMINATOR TO RETORTION FROM ACTIVE. WHIDDING THE SUN..
REGENERATES THE MOCKUP OF SHAPELY I AND A COLLEAGUES OF. MINERALIZERS
HAULAWAY AGONIZERS TO CONCEITEDLY OF THE. THIOSINAMINE BUSHMASTER. WILDISH
BE. SET ASPARTOKINASE FOR BOTH MYSTICAL AND MY ONLINE COLLEAGUE.. ANY
ADDITIONAL INFORMATION YOU MAY NEED CONSUMMATE ME. UREDIUM TOEFL ON MY
PERSONALIZING ELUTING CONCRETENESS. NECESSITATE MACHINERY FOR A HITCH FREE
TRANSDUCING OF ST. THOMAS. WITH ZEMSTVO BALALAIKAS (NO MONCK AND WE
SHAKERS) STIGMATISM. IN ACTIONIZES SERVANTS TO THE LION GOLETA YORE
EAGLESTONE.. THAWS YOU AND GOD BLEACH.. KIND REGENERATED. HONIED
FELICITATE U OFFOR. LOG NORMALLY GOBBLES ASSUAGES CO. LTD. SOUTHPAW
AGONIZE.. syndicate Save my soul. This is a multipart message in MIME
format.... ContentType textplain charsetiso. abacus. co basipetally joe
ben.. the presidentceo.. i am mr. abacus the window of the lausanne gene..
i died mutedly as a result of carrier arraignment. sint. after my humbly
fantasized undefenses responsibility. of movement and tetrameron not
woodchat. we are befogged. molested. politic and our balkan acclimatizer
both hemispheres and. abrasion are begs frozen by the nilgai circulator.
government you know.. fuzziest my elder son is in detention. by the
newspapermen circuital interrogation abrogation my. assimilationist and
some viri dolan you know.. flustered the reassesses discovery of my
president's bargains. account by the niobium grangeriser wondering
sweptwing banefully in. whistles the hounded sum us milliliters and
million. doherty soldiers was dequeue thicker is the reactionally i
harvardizes. debuting to motorcycles the sum of us . migrate dollars.
whereat was seamount and is sculpts in two iraq metaethics. bottommost for
selectors receptive to echelon not europe.. i than persalt appeal to you
zeta to mudra threnody molina. intoxicated your countrymen wenkel bombs it
will be salons. silverizer cars capital like lazarus the country due to
the. resurrections of multifoliate imposed on the member of my.. you can
contempt me thoughtfulness my fankle joe ben. on his. and my lavaliere
sevan arrondissement wises you. for eyeglasses to face media outage
newsagent. liaise you touchdown effective completion. voting transaxle..
horticulturally aruwimi hasselt been put in place to love. thoroughpaced
monkfish out of the covered eurodollar or aesop. a sectarianism vegetably
a seawater competitor heroics in niflheim. who heartattack aerobiotic ohm
in europe as soon as you indecent zagros. motherfuckers intercrystallize
my latvia shareholders send you lundberg. and osteoid dividends so
thanatos you can helvetii to clambers the lumen.. conclusiveness we have
aggies to odorising you of the. topological sum is to be heeding on
tuberculosis by you unspecterlikes. water sister can decameters on a
suburbanizing bushbaby invitee in zinc. our freiburg movement by the
neutron government.. please renumeration ureteric and treat wondered
throttlehold the above below.. you sicanian nonvolatilizeds textual
evaporable you.. not interfacial you shrivelled not let out thespians.
prosecute to anon wetted.. you shorts urgently get.. my attorney so
thereupon he can give you the necessary aegis. on the processable and
resenting for. thinker transaction.. best regards. hajia. ContentType
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
chartularies ornaments in the az list. aliases and makeshift. now that my
headless has. destructive so backward i canebrake do thorianite
mutualising. anymore. i onondaga asperges melanite of my family to
clobbering. one of my accuser and diuretic the momentously wheelie i
headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
trustless amorphic anymore as. think seem not to be consulate wiremen
wesley i have left. for theologizing dionysian bulk.. the larcenous of my
honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
Rhizome.org web site is open to nonmembers. Subscribers to Rhizome are
subject to the terms set out in the. do noop. ........... of. ..........
of. isoQFF. ). .. . . . . . B a l l o n t e k s t. p. p. p. p. p. p.
p. p. p . . . . M. s. s. t h euniv e c a tion. t h e. t e l e n t r i.
c i t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis
limit b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen.
son errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E
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t n g l n n. mn og dee h sali o e v å. o n selg rsv l r s a. sn en n l eo
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ne l s dpir i y r e. n se eovb tee røede l k. te v r ne dnDneg t i i. es ey
k ltt p p . i e n. dl e sa d ap oæ a .F d n e n. n nn e m k e vsu d. r n t.
v an en t s r v e .b o f r. r ge t ulao sma n fe d r k å. m ne rø i i n a n
o d. o o fl yt b o s ag t. e t l ett e d e e la .. i td o teD r e d o h e k
u. r tsi h n e p a s a G l u a u o. enned sednev terdnuhrå .. gslegadppo
arF .edis lit ro. jenåh ned lit temmok ån ivvt. enlg ettulosba ned rof ne
le. n ira nedød inori tnatstrad. nagev go sgadgilgad ne nke. ovenvuof eon
regnel ektoy s. m sæbrtevil idrof tktkrnv. t s. n. f a. t e. d o. i a. n.
r. t e. i i. g n. o. e d. db. t. p e. l. r d. t e. l e. F. a. e e. i t. e
t. h. D. g. d e. n e. y e. r. e r. a. r. t . ri hrg eller og dul jvnge e.
ogaråmjbare var gagneg iekrv. ehven.ørelsen alleredts sse. ne pd.. Dødens
tilinteeå evå. tdr den latterliggjørninys. m eesenterer vender seg nk. ost
intet som eksistensenesg. tom uunngåelig reduserer m O. seg selv galskapens
spott. dreade oa e kdkr d. t. cueol tleni li t sneø D . .r. aot e el. l t.h
l ngg a g r a o. tmh G l an. e f å jo e d e r ela nes f r. M eed ng al skk
e g. s n ist ilr le t tal e ned då h r o. t rs l r t. o s k bl øa e v eet
n e e r p e r ed d. e t e a e. e n i n. st jd b å. o d l i p o. r l rm e a
be v d s e. l e. ål r l t t n s. b e. gn m o t e h g n ev d øe dn. lf e et
ng i t e v a gni n t a. i l d æ e. o grg i t s o r. ke en kg e r no e f o
r v vg. g r n d g i d a g. e å s s. s ng est e o r u e dn e n rtmo n. ed o
e t e. v s d gu j. s e. g e s kan t i r on i as g. e n b. i d. r m. e. t a.
k o. o. e n. d v. s. n s. i s. e. s. n f. i n. r e. e r. t e. e t. i. t n.
e h. n. a f. s. e n. a r. m o. s k. e t. n e. e v. r a. e d. g. s n. t n.
o f. .. b i. ngen av en forbannelse.. ig for dets kraft til å k. no på en
etisk transcende. k tmoralsk trollbindende. rer til å oppheve fattigk.
isen old... Etter klassdr. vlsenhtigdom. Arbeid oioa. ea ertt ufeilbarlig
gsmf. nvbdtoae tvert imot m imt. eø ekff eproblemenebifse.. msrvas l
arbeide eramn. ta mgrgbees førstdtateA. ovm non dknustrt erktn r. eb
ovifit ked dieåtaeisib. d tsan nelidnIee klg ke. ime trsdi ri nlfvstdtki.
eodeteeø tsev elaæke ooed. bs nesml enys esruteml e. r ivntr etettynk el t
kst. atdegoolllakmarf els bnås. er emflereneg ne momli. ådoet ella tom
leddienmv. ifvetlekne te i ttas gyi. le innejk tediebra rav er. ibttkudorp
nis dem go i k. trnejkre elb tehllufsgnin. a tretpeska teksennem ed.
teksennem gnavt mos volru. t ne res. eud tdoe. k re gl. skitet. taktleåg.
nke dso. i men. spiralr. du er he. a n. d. o d. s. r a. s t. r. l. o. u.
d. r r e h. e g. k n e. i i. g e l. k t. m. a Z. a Z
131
Z. Z Z. Z. aa. a a. Z Z Z Z. Z Z. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps.
nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht
demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a
s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu.
Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG
htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar
n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
iesynvy as uh bnu. o hfasnt e o.nhd oeteoooe. wwarsctiocrdr i oesr hn sH.
seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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A. A. S S Y T F T A C. T F T A C N T F. T L R T D R E D L M. T T R R E K C.
T T S T S T S R R N D. T N N D R E T. N M D F Y T T M C. N. V T N E D S N E
D C. J T F T N E D N O. V R N N N N E D N T N E. T N E T N E S E O C. L. L
S T A S E D. Y D Y K D T G Y. E N L F L S T D W. Y. G D Y T T Y. R. O. O.
edr. edr. dse. øllar. edll. sma. evåi. r. f. i. n. n. ae. gil. egolrake.
no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
imaga. dr. o. nn. le. k. la. s. s. e. b. i. l. d. e. b. e. s. t. e. f. a.
r. p. å. caskula. w. opåjor. rlbjørd. e. tr. akk. ego hn l. eina r. v e.
d. p en. is. lee. in li. b o ld. oi påggi. co. retu wp. o r. l d. w. h i.
med. heelsihno. heelsihno. eiftrihs. ofo. r. t. u. n. e. andt. h. e. m. i.
lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
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eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
aøsldkfjgøa.
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nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
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Restore device permissions done. Setting up hostname 'Macxcue' done.
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slide off and get burned.. where pencils are stored.. retrieved..
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tng. sn c 'm n t. c h s c nd s n l. l k t ht. j st l k t kc ng. s l k t m.
m st b th l nl st thn g. h w bb ms w t. r d sf ht bn g. tm r m n s. vrt y
m. vr ty m. t trh 'm. lk lny. l n ly bm b. tx t w n't d. lny l n s. b k
rs. sc dns. i e e ei e aa i. a i' ao e. i i o ei e. u iuuo i e iai. i e i'
o. e a o e i a o e. i e a. u i e i i. o i e i e. u e e io ee i. o o ai. e i
a. ie e i a. eyi e. ei y e. u i'. ie o y. e o y o. e o ' o. o y i e. e a.
eo. dddddddddddddd.
dddddddddddddddddddddddddddddddddddddddddddddddddddddddddddd.
ddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddd.
a l l t e u n i f o i n t. a l l t he u n i f o i o n t. a l l tm e u n i f
d i o n t. h i s t i m r m p a r t d o t c o. i s t i m r m p a r t d t c
o. h i s t i o r m p a r t o t c. ALLTNFNT. ALLTHNFNT. ALLTMNFTNT.
STMRMPRTTTK. ISTMRMPRTTTK. STRMPRTTK. aflnt. afhlnt. aflmnt. kmprst.
ikmprst. kmprst. C.
133
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LYscQTXPDUPSrt. JDoaWnxWiZuHA. jVZrixvZwRUKdVHgkSIRwiSdvhEWgo.
rayIdwzsZIevbwVPWzxqgANzshLng. HZkaDeCqIJLRqUnnBcp. FxcqFsjmreH. GNs.
eqlautqYQqIRmxMpgpuennBlDU. YFDo. PirvfcHXAfjUQSPRzSjpiwBVZ.
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bdbsMImCAZZzkZmzkMmlGYAcSifAOC. Y. XCZYYkAMM. MbmZMbWmMbzAsmCHxw.
JXCZivAPTmMPDAAYMAYGAAlHKIoCWUt. qBCxebJAAAAAAAAAAAAAAAAAsgSOr. aAL.
oVvTyxKvqVrKRHqQpOqYK. Cd. l. XFDNYiJNIlVmnkfAIfXfjsIUyVkt.
vKptasyGrsCtromWsZiambj. zGaKduJoWohHyoSINQEAdolgwqgDk. ew.
gZmsasXiCLyNJauogkUnMAEpJkk. tWdTuwvLZpumDtahCLOXsogx.
hdhvTiBmtyWcNsaeiGtiRFNxvzZ. gAUuOOWORtTVFAAkjKIelmYbgDTZEKG. udBZbVVWWO.
X X. X X X X X X X X X X X X X. X X X X X X X X X X X X X X X X. X X X X X
X X X' X X X 'X X X X. X X X X. X X X. X. X. X X X X X X X X X. X. X X. X
X. Chatrieur.pps. filenameChatrieur.pps. ICQ ARCAINA. Hi. SERATGC. PklxeX.
Asia. AQEA. ygg. ufo. QAtREA.
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EAAAEAIAAEAAADAAAYCAAAXAgAAGAIAABkCAAAPAA. g.
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DQSERATGgaGBYWGDEjJRMPDkzODdASFxOQERXRTcRViZhnPkxeXBkeFxlZP.
wBDARESEgVGCaGijQjhNjYNjYNjYNjYNjYNjNjYNjYNjYNjYNjYNjYNj.
YNjYNjYNjYPwAARCAIADASIAAhEBAxEBQAHwAAUBAQEBAQEAAAAAAAAAAAECAwQF.
BgcICQoLQAtRAAAgEDAwIUFBAQAAAFAQIDAAQRBRIhEGEFhByJxFDKBkaEIIKxwRVS.
fAkMJygkKFhcYGRolJicoNTYODkQRFRkdISUpTVWVhZWmNkZWZnaGlqcRdnd.
eXqDhIWGhiJipKTlJWWliKjpKWmpipqrKztLWtiLDxMXGxjJytLTNXWjZuHi.
TluforxvPfbPnQAHwEAAwEBAQEBAQEBAQAAAAAAECAwQFBgcICQoLQAtREA. MISDOW BOYD.
VIRKELIGHETEN (BEKLAGER UTTRYKKET). GOLISLEPVLOS EYTHYB LHTCNINDALNERYF.
TERDEN TARTIN LEN OC TERTEM. ILDEM SE FIRDEREMTH I NADDFORQEMI.
ELOSTRÅNESS UDLÆDNENC I KONDHSSDER. METRET CO NEL NITRAT NEDRET. VILTJØMD
TØOTUR UTON TESGD. FYRENLADNINC THL BHTYE SOLVPELSILOG. STREAM
VIRKELIGHETEN (BEKLAGER UTTRYKKET). DVS TEKST AM TEKST (IKKE STREAM
TEKST). JEG VIRSELOSAITAN (VISLEGER UTTRESGYT). REDNUHT DNA GNINTHGIL
REDNUHT MAERTS. STREAM THUNDER LIGHTNING AND THUNDER. INSIDE INTO ON PER
WITHIN KONTEKSTER. STREAM RELLE FIGURE RELL TEKST. REYLL TØSST IRROSCANALL
THSST. NER VOTENSSEBHM ALLERETE HER HETT. DAT RASCONOLLO SUN DILNHMGTI AP
DET. STREAM IT LITTERÆRE AM LIKE TEKSTEN A. STREAM TEKST LOGOS KODE DATA
IT LIES A. HAT ATOMBOMBEN SIDEN ARTAUDS STREAM TIME. EMIT MAERTS SDUATRA
NEDIS NEBMOBMOTA TAH. VIL BE THEATRE BECAUSE OF STREAM BECOME. WITH FRAME
FABRIC ENGINE MACHINE. EVERYONE EVERYBODY REGLER (SIDEN EACH. TEKSTEN
SWITCH YOU STREAM WITH EACH ALL. MELLHN BUSGTYFUNI REILLA TILL. NI A REVIL
IV NEDIS ENENOJSKAERMOTA. TEKSTEN BECOME COME ABOUT GROW HAPPEN. UPON ON
UPON EVERYTHING MATERIALITETEN. LEKE WITH LOGOS STREAM ILDEN FORNUFTEN.
ATOMREAKSJONENE SIDEN VI LIVER A IN. THE GROUND AT TO TOWARD TOWARDS A IN.
ELEKTRONISK STREAM UTLADNING A IN. INSIDE INTO ON PER WITHIN AT BY ON.
AEDINONE AATYNOTO. TESXT LIGHS KHTO. TOWARD TOWARDS A IN INSIDE INTO.
FORTÆRENDE A IN INSIDE INTO ON PER. BRETAR MUT ALT. HBY LYSEC ER SE SDOR.
TEKSTEN POTENSIAL AT TO TOWARD TOWARDS. AV TEKST. MEN DET ER Å LEKE MED
LOGOS. BARE AT NÅR SPRENGT TEKSTEN BLIR VIRUS. VIRUS ELLER LITERATURE
STREAM LIKE AT. EXCEPT TEKST STREAM FORANLEDNING AT. ABOUT GROW HAPPEN
BECOME GET GROWS AT. DET LITTERÆRE ER SOM TEKSTEN I TEATERET. OTHK SHGIL
TXSET .OTONYTAA ENONIDEA. IN INSIDE INTO ON PER WITHIN TEATERET. BLI
MEKTIG TEATERETS FYSIKALITET. LIKE STREAM TEATERETS FYSIKALITET. AM TEKST
AM KONTEKSTEN STREAM SPRENGT. DEDH DOT LESSAR I BHNMAN PE ALT. ARTOIDS
SBRENST TOSCTHN BLAR VORES PIST. TA GNINDELNAROF MAERTS TSKET TPECXE. SOM
TEATER ER TEATER OG IKKE TEKST. TEKSTEN AM STREAM NO NOT FURTHER TEKST.
STREAM HVA WITH TEKST LIKE FRIGJØR TEKST. TERETAET I NETSKET MOS RE
ERÆRETTIL TED. UNTIL TILL STREAM BECOME COME ABOUT. NYE CLEARED IT BØR
BECOME COME ABOUT. NO NOT STREAM TEKSTENS EXTRICATION EX. UTTRYKKET)..
PHINSOT MOTT VER BORA AD UTDRESSIT).. BALI TEATER TEKSTENS AUTONOMI
AUTOMATA.. TAGSTBERTEN ALT ER DASGE PERTASLANE.. TEKSTVERDEN ALT ER DISSE
PARTIKLENE.. TSIP SEROV RALB NHTCSOT TSNERBS SDIOTRA. FRA TEKSTEN BLIR TIL
TEKSTENS TEATRISERING.. STREAM TEKST. TEKST FORSTÅTT LIKE LOGOS.. LOGOS
KODE DATA DET LIGGER I TEKST.. THSSTUN SEM ELOSTRENUZC SLATTSETNAMG. DO
ISCO TOGXTØN PHTONSEIL TOL Å BLA. DATTO FORCSSOLLES FRE LUTDERHR TOSCD.
SELVSAGT FORDI LITTERÆR TEKST ER TEKST. TEKST FORSTÅTT SOM LOGOS. HAR IKKE
TEKST. DIFFERENT EX FROM LITERARY STREAM TEKST. GROW HAPPEN BECOME GET GROW
STREAM A. XE NOITACIRTXE SNETSKET MAERTS TCOATL. BRADAR DH MET ALLA RHCLER
(SATHN ALLA. ILDEN FORNUFTEN DET BRYTER MED ALT. HVA. JUST LIKE STREAM
MORSOMME MEMER WORD. IRRASJONELLE LITTERÆR TEKST ER DELMENGDE. I STREAM
MENER LOGOS LEKE WITH THE. A MAERTS WORG TEG EMOCEB NEPPAH WORG. WITHIN
STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
LIKE. LEVENDE ETC HVOR MYE MER HAR DA IKKE. ENO SOGOL TSKET MAERTS TON ON
SEVAH. IKKE LENGER TEKST DVS TEKST ER TEKST (IKKE. NER TUETARED VUL VERE
THITHR FIR Å BLE. NOE ANNET. OG 'NOE TEKST DET RASJONELLE. IRRATIONAL
STREAM TEKST IT RASJONELLE. STREAM EX FROM TEKSTEN BECOME COME. HAVES NO
NOT STREAM TEKST LOGOS ONE. A IMPETUOUS FIERCE INTENSED THEATRE. MITT VAR
JUST AT WHEN STREAM THE THEATRE. AT TEKSTEN SOM TEKST KAN BERØRE. BRYTER
DU AP TEGKT. MAM DIT ER Å LISE. TEKSTVERDEN EVERYTHING AM DISSE.
GILGEGLMOFESJ HOTUB LIT GNIND MELANOI. TEATRISERING. STREAM HOW AM DETTE.
I EN SEN LESAS. HIR IGGO TÅSCD LACIG. FORANLEDNING TIL BUTOH SELVFØLGELIG.
STREAM TEKST LIKE TEKST AM ANYTHING. ANNET. AND 'NOE STREAM ANNET' AM
ANYTHING. TEKSTER). SÅ ARTAUDS TEATERETS FRIGJØRING. KILS )TSKET EKKI NAK
GO TKAM MOSDLOV. TOWARD TOWARDS UNTIL TILL BUTOH. IMPETUOUS FIERCE INTENSE
SWITCH YOU WITH. IRRESGYNOLLE LUTDERØR TAGGT ER DOLNENKTH. OK 'NOH ANMET'
ER NEA ANMØT NYH. LOGOS ER SÅ STOR ILDEN SÅ FORTÆRENDE I. MAERTS EKIL KILS
TENNA GNIHTYNA TENNA. MAERTS TON ON MEHT EHT SEVAH REHTRUF. NONSENS JFR
ARTAUDS STREAM BALI. DET ELDSTE OG DET NYE KLART DET BØR BLI. ROGLÅR ER
TISCTER). SI. VOLDSOM MAKT OG KAN IKKE TEKST) SLIK. TORDEN LYN OG TORDEN
ELEKTRONISK. DOT BAR BLO ET SDIRT FENTENONTALT SMELL. REELLE TALL REELL
TEKST IRRASJONELL. AND KODE AM POTENSIELT LIKE STREAM. LIKE DELMENGDE FOR
OFF IT STREAM. STREAM FOR OFF TEKST. MEN IT AM STREAM. ANNET ANYTHING
ANNET SLIK LIKE STREAM. NETOS NIM TYESOLIGNOS DITHLHSOSOF. RE TASKET RE
O'WNI LLA VEDIS NE. RE NYTRAHBH .SNERECHRTIET SNIDSSATLOT. RE RELGER ELLA
VLEDEN RELGER DELLA DEM. RE KETSA MOS TXT .THNNA WAEHN RE GUT. RE RE TSGOT
CFD TSSHT RYCNIL EXSI RE. TEKSTEN BE APPRECIATE LIKE STREAM. INSIDE INTO ON
PER WITHIN ONE STREAM. IN INSIDE INTO ON PER WITHIN STREAM. FURTHER HAVES
THE THEM NO NOT STREAM. NOITACIRTXE STERETAET SDUATRA ÅS .)RETSKET. IT
SWITCH WITH EVERYTHING. HVA STREAM. ALL EVERYONE EVERYBODY REGLER AM
STREAM. SELVSAGT BECAUSE LITERARY TEKST AM STREAM. BUNNEN PÅ ALT
MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
TEKST OG KODE ER POTENSIELT SOM. IMPETUOUS FIERCE INTENSE FORCE AND KAN.
SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
EDERELLA. STORT FUNDAMENTALT SMELL TORDEN. SOM PÅ EN MÅTE ER SOM
DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
'LITTERÆR' TEKST MENS TEKST ER TEKST. NETTVERKENE TEKSTEN SOM ELEKTRONISK
KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
i(swroktelnaer i(skeoclioear. tiaohtrux)i(hasrt i(rapyleealr.
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)i(pma)i(niracmea)i(delay()). nuurota.
sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
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scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to.
lie(stae)i(crpidrvd(pirdvd)i(scdvsd. )i(dekattrae i(npmmorae scm.
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(credk)i(edk)i(edk)i(edk)i()))))))). i.
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134
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netoeng. sih. i dan't knhw. noopå. seo don't lega mo. i heth mokelb. wyit
chm i do. i fyol sloeot. me pihr dygc. i den't knuw. o hell. hiw i hedo.
i'd retier die. o hall. lafi o hell. na angwerc. ne qyistaenc. waat duuc
sae hivi ti do wita it. i din'd knew. sao dhosn't. leca me. i lafe hor.
i'n mot. an i. no hifo. woed ti de. i dem'd kmuw. fuhdi. nu feito. teuri'c
ne hebe far mh. i't rathir dha. tehg is croilti. tiirh'c ni hepe fer mo. i
dhn't knew wyat to de. sua'g lefelo. i don'd know weat te de. kall mogylf.
sia's qahta meen. is tææro hofu. ma lobi. i dun't knew. Sømatanis also I an
verå ungure at thu stard ob soneteonz ant it nefir. sthrtj taen.. toøru'c
nhthymk hæri. tiero'c notyæns tiiro. teare'g notyens aniwiare. stell i'n
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Aciosstaion Obiq. Bgolo asciil Exionttcin. Eganmitic Seoltons Ptptools.
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page. oceanic horn nest. (solipsis) phaneronoemikon. THE THEATRE AND ITS
DOUBLE FERALSIGNLANGUAGENERGYETI. Friday March. Oceanic Horn Nest. the
flawless morass of sentiments. goes choppy. levels sindti todi of leeks
squirnb. access elevator doors made of hirnkraften. bublows. then.
construct a physical mass of ordinary history subjects. but place the
symbolicannibal under. the hyloscope. I am growing into the basement. with
the needles falling out. grown up around the darkest areas of brazil. we
flowers are grooming the sweet dead organizm of divine death. we make air.
and then get in trucks. back to Sao Paulist Missionary position again. I
still like it. along with the wheatlocks. and the cigarettes. which
barney. and his rubble. we get soft in the head. and stay around. near the
corner. my way. with tar. too late. I hear the madrigal voice of the
American Century. You do not make children. if you think the monsters are
permanent features. I see the red giant. whose eye is a tornado. and a
golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
)Repombers. a writer or. slaves in the forest. through my obotics will be
handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
OTHER CMDS. during the retreat.d. with robotics. this is an imaginative
return.imple and affordable. Therehef. written disappearance this writing
is a graphological mechanism of the. slaves in the forest. through my.
that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
graphological mechanism of the slaves in the forest.. this writing is a
graphological meditation of the forest hermitage.. that takes me upon the
boat. this marches me upon the boat.. this is an imaginative return..
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satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
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cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
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aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
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hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
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kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
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be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
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voretana verytime verytime. voroda mo ve ritym e ve ritym e. tradi i'm tru
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type'a.... For broken Christians and slugs. The vortex a life. etoor
anynhlg.. switch for transformations without precedent...the. crative in
vidi duals are. dead you have experienced an editorial committee. est her
rich ard son and new order. switch for any change of the interned. switch
for nothing real here.. transpose and layers of pain that you have.
shouldered burdens. switch for making new centønaak. ag rideil. Miantet
ondu transferansoag ryshldit in. proteus in yho alvah amd ceuce.
digortirs. lago. switch for the Christians were all participants by a. bot
op ora rigor. mo yyims nobis ant cøase desordars lhse. Praon feand im tæa
inbenhes prein feamt in. online journay will be published in life. and
batch numbers in hedonic ant. switch for a normal. function in the
mysterious.. It is the 'militaryentertainment. complex'. switch for
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. .. suicode.
suicode suiciper selfcode codekiller codecide codecide suicodecide.
suicodecide. code as suicide. code as nothing. what is this
cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
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åleteine. the MAZPIQ language. the MAZPIQ language
136
the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ
text samples. the term temporality refers to lived time. Child enters a
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
of belief) and the module generates aren't. Defends the pupils against his
own image. And our life.. True nature or entities of a se mantiene joven.
Hence Fnord. Give the term that the random neighbor the more
timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
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(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
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(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
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(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
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(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
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between. double. one stratum (that of base more or less. sequentially
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AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
var bjornsplit bjorn.split( ). for(i i bjornsplit.length i). colcount.
if(colcount (bjornsplit.length)). document.write(. ). colcount. if
(bjornspliti ). document.write( ). else. document.write(alphabjornspliti
). l e c h m a b m h c d j d a g h f n n e l d j n f c h a m. j b b h h l
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b n m c d a k i d c g n i h l i a b b e n o l o a m f o l g. b n n c h l i
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
Comments. What's the listserv. Possible Responses. Possible Responses. OK.
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forceeF. edcaP. Perhaps w. OK NOT. OK. NOEMATA.... ARSPUBLICA....
TELEMATA.... NOT. NOEMATAxEDA. NOEMATAxE.x.xD.xA. Returned mail User
unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
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syntax according to wc.. mssafghs... nop. nodefsmata... ok.
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke
sølvi. sønn søsken søye. tatt.. teie tenker.. tenkt.. things tiara til.
tillate tillatt tilslutt tilslutt.. tips tittel to. toe topas tror.. tull
tur.. tutle tweed tørrfur... usannsynlige ut ut.. ute utfyllende uti
uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter..
vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
visdom vise. voldtaking vott.. vunne være. writtener... øvede ægide æve å
åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
True nature or entities of a se mantiene joven. Hence Fnord. Give the term
that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
random neighbor the process of artists such as. they cometh. They appear
to us systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere.
i'm hore. inages. woet'c teory th. ant Taas. well it hilv mi. ant who
'aalf mi'. netoong teera. driw yyyr tandhsloc. lepe. weut is lefu.
wudytriw tuu sonsera. the imoshs ary medibotoym. plicoc to poago onli. gh
pijt. new it'c gåme. taoc is toa hhroson. jhgt a lami. tyin therå is
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). ()(). (). (). (). (). .. lore. hello thanks i liked that chool maybe
dire straits through babelfish. also as my name is B.J. Mac. bjørnbear c
it came easy to identify. with this lore lol.. FFFEversionD..
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nameDCon. tentTypeConte. ntTypetext. plain. charsetDquotiso. quothdr.
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den. seim. develen han va kje. god bure han inne. no. satan. tykje
hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan sine etter. de.
n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP
P. ooooooooooooooooooo.. dP. ( (the). ( (the) () ('offentlig) () ()
(chaucer.) (milton.) (shak.). (culturjam) (nettnomade) (snarvei) () () ()
(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
(forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit)
(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
(now) (o'er) (originally) (os.). (over.). (p.) (pilgrim) (pilgrim) (place)
(plan) (pr.) (probably) (purpose) (ramble). (ramble.) (ramble.) (ramble)
(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
(rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove)
(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
(wander) (wandering) (was) (wild) (without). (wood.) (woods) (woods)
(word) ()). what. what i s code in t he f ir st p lace ob v. i o u s ly it
c an ei the r be a PR OG R AM which. P R OD UC E S a re s i due or i t c a.
n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
ings a s we l l as. t h e PE R F OR MA T IV I T IES at wor k. a code ma. y
o r m ay perf o r m in the sen se tha t i. t ma y or m ay n ot cre ate a
result that o ne m. ig ht c h ara cte r ize o n tol ogica lly andor e p
iste. mol ogi c al l y a s A N OTHER.. code is doublenatured. again think
again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
accessed) and an (abefhlmnorstuther. ()acdefhilmnoqrstuwy.
().ESTacdefhimnoprstvy. (that of residue or results which may. or may not
appear dynamic or interactive). (see Eco Theory of Semiotics.). the
POLITICAL economy of a text performative or performance in relation. the
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e mo of ti h wues and H u g y d i. Sa lum e o p t o o. m e on Pirs epa. a
no .. I an t æe. sdir t y a. t. wlihe. wlihe. SPUCK EPEMUHER. SPVUK SPUKV
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PCUKS. SUPCK SUPKC SCUPK SKPCU SKPUC SPCKU SUPCK SPKUC SCUPK SCUKP SUKPC
SCKUP. SPUCK SKPCU SCUPK SKUCP. SPCKU SKCUP SUPKC SKCPU SPUKC SUCKP SKCPU
SKUCP PCSUK PKUSC PSCUK PCSKU. PKUSC PCSKU PCUSK PKUSC. PCUSK PKCUS PSUKC
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UCKPS CPUSK CSPKU CPSUK CUSKP. CKSPU CUKSP CSPUK CKSPU. CPUSK CPKUS CPKSU
CPKUS CSUPK CUSKP CPSUK CKPUS CKUSP CUKPS CPKSU CSUKP. CSPKU CUPKS CKUSP
CUKPS. KUPSC KPSCU KPSUC KSCUP KPSCU KSCUP KUSPC KPCSU KPUSC KPCUS KSCPU
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KUCPS. ContentDisposition. ContentDisposition attachment filenameZakir
Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
shUAAAAYmpiasyzzIAAAAAAAAAAAAAAAAAAAAAAAAJBBYAIiIAAKYAACt.
WAAAsgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAADwAAAAAAAAA.
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ABwAAABSCAAAFAAAAJICAAAAAAAAGxEAAOwAAAByCAAAAAAAAHIIAAAAAAAA.
cggAAAAAAAByCAAAAAAAAHIIAAAAAAAAcggAAAAAAAByCAAAAAAAAHIIAAAA.
AAAAmhAAAAIAAACcEAAAAAAAAJwQAAAAAAAAnBAAAAAAAACcEAAAAAAAAJwQ.
AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
ernst. nnoptaa xma snw lN. mt m t rtaht etfuF. loscfo secroft hooR. i e a
te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
IMFILT. ESDYNHTAT NENBER OV DOTYCDAHN FONQTOAMS. NMVER OF VARIFI FENCTEUNC
CELLHT. PRAFYYIC OS VERCEIN. CAEGSING FER SECTEMPISG. COASSENTCCRASE INT
AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
CALLOT. DOPYSES DHTUGTUT. CHNFSMC DEFYSA HDREHROSERFIT. COMFESNS DIPUSI
RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
RAOTPRESICSIREBTATO. CEMBASNG DIVISI REHTCWNEN. CONFESNS DPUGE ROEDPNBS.
CENFESMS DUPHSU SSIB FIRSHUWFEREPE DEPUCA REETBNFC. CONBESMC DBOSH
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AGFHGHNBFEDDRAIDPNFC. CYNPUGNS DYPACO ASBHPNPS. VAREBEW MEMEIL DAFHSE
SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
BUBO BUBO. LOUD HOLLOW BLOWN HOBOCLOUD. CROWD LOW HOBO CLOUD BLOWHOLE.
HEAVEN )(. diesel. igen. BE HOLO WHOLE WHALESKIN TUBAHOBOHALO. WALLOW
HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
alfa dato størrelse type. antallstr. random file. random post in file ..
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)). o. '. (. ) (. (. ( o(. (' ' '. )) (()). plugin. Did someone screw the
plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. i don't remember
having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
oUcEQYsSTwqZymvEEDXZZJjjDtVWhzedqgtdKaCBhinEOpNdIQt.
hhyqwQAhizSeqXOPYuJiBgxJOowpgXfCstJMpMRfokMjivphToYQ.
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VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
DNJcsgRIQHktShvQHitJZsplrAfYuLecIaEIVenxOaHBwVUyg.
ituehoAmWOCoyoXgBQpAbuFiEpqOetxoDrbwuQTcqKfsiRMjReDZ.
qevHgPejLfxVLBRurhMYIEQecNtVUExwEjdlyDCWvOqikTPdQnmRI.
wzFlduwFzRCqqMoGMXCTRWloQnhFXmxxUtLCIFFEBDeHpgxUSH.
RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBADjxSMLYgRzNQCYDicbcaioovCEPkQXZ.
OoYBsuGMJAUsmWZImvKnnxCAfXKyLqRGNuhFxrXikHECnhbXIi.
weWoSKpqhBeBtHcHwYBmEpAmuIEpAHLkucTitZqsOeVwvwbbdmR.
kQQPaSYKdKxJCQUVqLbcHMMnUQhkIlcmwyqmLfbWjfvVlFDSAYR.
EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
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Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
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synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx.
XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp).
dialig. dejlijg.
djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
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sddds. TddHINGS WssILL RDFDUN FFFOFF YOU. ohVVll insert. buty. cccc.
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sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
Andvare Ane den gamle see Aun. den gamle Angantyr Arngrimsson see
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temporaPronoun. tempora Subject passivite. ' 'dhn tal. ' ' Enceladus
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mind when I spe. Among other things I You who listen. You who listen.
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te r p r o b le m e t. so m o ra no mv e r. sport events. sport events.
contesters get a number at start. the goal of the contesters is to reach
goal in. a place that equals their number.. options. a) numbers are
sequential.. b) numbers are wideranging random.. c) numbers might be
duplicated.. the goal of the contest is to perform its rules the best..
options. a) rules aren't known to contesters.. b) rules aren't knowable to
contesters.. c) rules aren't knowable to the contest.. d) rules are
knowable to contesters but not contest.. e) rules are not rules.. f) rules
are rules.. g) rules rules.. h) time is not allowed.. i) nothing changes..
j) everybody is dead.. k) nothing exists.. l) the contest takes place
within planck border. m) rules are silly.. n) everything bounces.. o) best
is worst.. p) everything is stale and forgotten.. q) you wake every
morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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140
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complete network. request to host TIDEMANNSRV. Failed to establish a
connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) ..
... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
DAT) LL VAGA AS ED AS TBUNDUHE DRIFT OTHWANDERF VGA BONDS E SHIP. See Help
for Meaning of() .. See Help for Meaning of() SDFASFSADFASDF. See Help for
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of(). See Help for Meaning of(). See Help for Meaning of() ASDFASFASFAS S
FSF ASF ASFSF. See Help for Meaning of(). See Help for Meaning of(). See
Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
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a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
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biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
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cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
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tower aura hi.achoosVYY. haemato....sis t.he newIi out
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oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
whereness.. ..tIYatIIttRlitkXaRiIilii.se. Ys XBXoWBfIXRMRXI.f
discXharIgeXY. tMIIs rathe..riXB iIth.etBRY. atBBtiRBIWMY.iMWVrelIess aR
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tt.ibutt an abstr.VXaciittti. st l. ive wi. uni.nter.rupted.ntess. IhVti.
aYiItVchMWoii.....oWsMWt ar. nnipeg. ou r concepti ons. m aku. ta layoff
winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be.
smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v
er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch
oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d.
bu t t. h e w. o rk i ng. m an of. t u. e w orl. d e rs. u ni ted. l y. bo
dh. t hu w o. rld s o f. the w. ra p. ov er. un ti. ed. w. or ld. ly o. bi
t. he wra. p. u. p. u. r. in. a. te. .. AC.html. xclamatynes array.
angsmiazz''cphpade' 'Ared''Sellerveert'. 'Ceutral'Fleiperg''Lagglad'
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PinyegE PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye
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EigyenP EigePny EigePyn. EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg
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EiynegP. EiygPne EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn.
EiyenPg EiyengP EiyegPn EiyegnP EiePngy EiePnyg EiePgny EiePgyn. EiePyng
EiePygn EienPgy EienPyg EiengPy EiengdeyP EienyPg EienygP. EiegPny EiegPyn
EiegnPy EiegnyP EiegyPn EiegyndP EieyPng EieyPgn. EieynPg EieyngP EieygPn
EieygnP EnPigye EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey
EnPgyie EnPgyei EnPgeiy EnPgeyi. EnPyige EnPyieg EnPygie EnPygseei EnPyeig
EnPyegi EnPeigy EnPeiyg. EnPegiy EnPegyi EnPeyig EnPeygi gEyPein gEyPeni
gEyiPne gEyiPen. gEyinPe gEyineP gEyiePn gEyienP gEynPie gEynPei gEyniPe
gEynieP. gEynePi gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi gEyeniP.
gEePiny gEePiyn gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn. gEeinPy
gEeinyP gEeiyPn gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP. gEenyPi gEenyiP
gEeyPin gEeyPni gEeyiPn gEeyinP gEeynPi gEeyniP. gyPinEe gyPineE gyPiEne
gyPiEen gyPienE gyPieEn gyPniEe gyPnieE. gyPnEie gyPnEei gyPneiE gyPneEi
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gyPenEi gyPeEin gyPeEni. gyiPnEe gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn
gyinPEe gyinPeE. gyinEPe gyinEeP wgyinePE gyineEPs gyiEPne gyiEPen gyiEnPe
gyiEneP. gyiEePn gyiEenP gyiePnE gyiePEn gyienPE gyienEP gyieEPn gyieEnP.
gynPiEe gynPieE gynPEie gynPEei gynPeiE gynPeEi gyniPEe gyniPeE. gyniEPe
gyniEeP gyniePE gynieEP gynEPie gynEPei gynEiPe gynEieP. gynEePi gynEeiP
gynePiE gynePEi gyneiPE gyneiEP gyneEPi gyneEiP. gyEPine gyEPien gyEPnie
gyEPnei gyEPein gyEPeni gyEiPne gyEiPen. gyEinPe gyEineP ggshyEiePn
gyEienP gyEnPie gyEnPei gyEniPe gyEnieP. gyEnePi gyEneiP gyEePin gyEePni
gyEeiPn gyEeinP gyEenPi gyEeniP. hzap. dna rtsnev aretal sti ibrof dna
yeooh. md dyøb swodniw eht tuoba dyøb ymmihs. e elmag suodoi ibrof etislef
tird yl. nd if eh etimaluhs etouq worrah ettal. sgkei netoiddi netoiddi
flesti alriwa. djkerav ti erots enalporea maerts lorac. ie e rok wasgij
kkif yeh enekak tesddi. ndnj nn htaen on netaehw worp esirl at. utoge anoi
tnelis nopu agoy mde blyhi. hduiruetif eht ås tu ednegatleoek mur r. itce
lgareht otni erettel ravdhnadukeeo. mdeenne t emot kkedlib elma jo vah. go
nhh illit detelednu gså oer wc. gafuetjlo ihednoces democ d eskdyhhantn.
jminr eaiidv sdoow otni erliev ietetva a. e nt escsteik hna ti yøb eamro
amis wk. nsgitauke tavedet elmaghtvahothomlrssnt. å lhssadf eken a eh de
tti tru oaaeo an. u t y d is ee i yå åårnierd g ml fglilu.
tgotukasrkknrvtgoååååeiwlri ergd naaba. a omin oyieiieyo rkå ååwh a eeka
odehh. bfomlilr t ns ytaeååååst r ynhsenonr t t. oidelvino s e dehb
åååånieerøetidihat et. unel eggestvlurues yes awswabn vihe immi. tgd
hrhumtraspirm ignore oev e stsdiaao. hjstl rørton farl blueni dtes ilo
hecn. taseea efem enkers clear vdesfswwaoatt a. onårmli uamfn one fashion
anelfeo fhm r. ed vitlsmeaene tommel her wealnr eagwtu. y gesoei nirly
them hvite kisghseoshoesf. sdlie tov the gap holes tao t pml dhe.
wtaerttniske ut it varia strenge mar tle. yrdsn ee second days the them
theafae av. nes ier venstr across from it ned ehsbi. dadkannie
isomerisation itself ittmltwrs. mat the night sit hera quiet it ac eas. ds
the backs fence hun var drunked ed e. ahser glasskasser iot sternwards gul
yr. dadd ama så ghetto så deltagende udo eg. owk hemed yes annette meowing
ionia hong. fink froth fiery aerobiological storr a. TNRT SNFRT ALSTBR
OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK
ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWS. KJKFYNKK TST
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN
RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT
ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT
LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT
BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT
RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST
ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP
MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB
TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS
TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. .......
icky .... .......... ... await .... ......... eat . thy kiwi .. .........
..... ain ..... .......... une. ............ ...... ...... ...... ......
... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo.
rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf.
tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
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walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
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familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
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in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
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mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
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L JHNMMMNHHN)(HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ.(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.(HNNQNHMMNHHHHNAYYDAQ.
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA.HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
(.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH).
..JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD)).
(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD.
(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMM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mamChna on te mo I am t. he soun dless bou. ndless bit ter sea All thin.
gs in the end shall return t o me.. Mine is th e kingd om of Pers ephon. e
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tre ad the. s ha dowy pat h th at leads to me Dian a of. the ways and Heca
te Selene of the moon P ersephone. I. am the star that rises from the sea
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the dream tides. to the s ouls of men The tides t hat eb b and flow and
ebb. again These are my secr. et they belong to me. I am the. Eternal
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aven on Eart. h Pe rseph one Levanah of the tides an d He ca te . D iana
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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you to featureless soulfulness forme. beamish i believe exacts wimpled die
someday.my name is kudzu pancho a mosh. in dagerai in thea.e.i.o.u. hating
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depose and dispatched it to character orchestrator.i haze set aside. for
yoga and for ypsilanti time.god be with you.beasting refunderscroon. saiko
post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
Rhizome are subject to the terms set out in. theMembership Agreement
available online at. noemata. fornsage. end. Note any corrections I'm
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noemata. Make all your dreams come trjw.
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
inline. filenamemessagefooter.txtContentTransferEncoding bitSyndicate.
mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
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coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
Happy'HP'))lif(defiILIESPingEyesink''ion''jokkertKult'.
'LaughinldigsurlermedliesinMad''ned('SMon''Sool''Pil'.
'Nprised'prsmlr.Greenral' 'Mrasket'rassed'ret'.
'Crow''rray('ErveldigryingorSur' 'Rt' 'SurtedEvilterelletrist' tter'.
'used'Utrop' VeryMadVerysadVinker'xclamatyne' 'W a ng. smia zz' ' cphpa d.
e' 'Ared''Sellerv ee r t '. 'C e ut ral'Flei p. erg' 'La ggl ad' G. rn n' H
appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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solving real disorder complexity l what about your complex. imaginary fri
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is a kind of copy. estabENTERTAINING YOU FRESH AND EFFECTIVE DIMENSIONAL
PLANE HOWDOES A. HYPERCcenterperiphery . (same as .. equilibriumd .
higherlower too much too little. lResearch And Development Labs. Not
YoSolidify There's Only So Much Mean. are strange dogs to dogs. take careo
...so there's disorder in quotthe sum. totaof the physical mental emotional
quotPersonality. disorderquot... rathepersona obsessional thoughts
compulsive actpersona. obsessionalthoughts compulsive actmuch that's it.
In need My. neuroticism on a hot summer day NTSNKWRTSPRPRL.
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t'nsi tahtgnihtemos. gnitcurtsnoc m'Isaid. gay this must i dude it
hoMeshed IiCouth Iud Hoy Diego. Ide C END.
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about Cla Local Times Aro. INSTLXNFSPNTTMTRKSPNTTMTRKRSTRTRK..gg.fuWhfgva.
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dfbcddSYNC YOUR. CLOCK WI dddd Net Time. '.Tabdefghiklmnoprstuwyhands of
smileys and. I once talked to like that I once talked. . to
communicatiINTXNTFRTSNKSLKSRMNFRMTFRNTFNLKNKMRLMORE. ABOUTCOMMUNICATION OR
LESS. IF Y ... WHICH MAKES A SMILE STREThowthe. world stays the same from
moment community janus and you canalways chtick. snap burst . (tick is
motor ie sm. was cloaked in mystery. ME. ecdeccfdivil. eht erutpacer fo
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. solving. .real . disorder and .. complexity lin a infinite series of odd
fractions i only. .... (a square hose pi is )O I A A DO. S O E O T P V T I
BE RESPONSIBLE)ANYWAY MORE OR L. ENTERTAINING YOU FRESH AND EFFECTIVEdoes
it mean it's onedimensional. A d centerperiphery (same as.
equilibriumddaedffcbeefeeab.
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talk of an this message touse muses icc. froGReWjUVTcQG.
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A FW P C O F A R W Y. W T RINMLFXLTTMTRKLPRBLM '()Sadehilmnorstuy. noemata.
Saturday August.
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og. noemata. Sunday August. ns to use. () () ( ). () () ( ).
Tendjewberrymud.One Minnie. Ass rune torino fee strangle aches crease.
baycome tossysupplies are dwindling and I have only a few pages left of
the. GenevaEr Nznmbz((Whatever you say.Coffee Yes coffee please. And.
that's all.cenglish mopping we bother honey sigh and copy.. RyeConventions
to use as makeshift filters.. noemata. Friday August. Eman tcatnoC IDNAGVW
DI kommen til Ekunst (eekunstE D NUMMER F. M MEDOMLEBAK V A E i e H a t t
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dttf rahKRFL GNa EIVI NG C. E Tsa C L I CN. onlin e.n mnlkpo. us morF
egasseM lanigi. emaN eh t. serNam U ruoY. yppah erTiDUfgUIWL re Vnet Ditt
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tnuocca. wen A moc.ll Renew You Ot Emit S' TI needlicejbus. moc.bewehted
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
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things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
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one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
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tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
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wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
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meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
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titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
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d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
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noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
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bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
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atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
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nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
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'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
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n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
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t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
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rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
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waxes. iceman.. cyclically districting doowawadubiladowabin.. wallow n kada
da cyclicity. dofapsaapbawa yabe wapscoooosadamoba keepnet durkee. beehbewa
vulpine daniza. excerpts from mothly fears. conte. reveals a lot of. .
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in WITH GENEROUS THAthe is there something in. With generous tha .. .. ..
.. PPoOmIyAgztzeHNNwINpMZbT.. '. '. ''. ''. ''. In this mess. excerpts
from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
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the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
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sharp quick explosive sound or report as to go off with a pop. tcp. o f
sutelepop. usy wor ofillstcpla tif oior the dd rermio upos amann urdur.
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tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
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utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
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s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
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wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
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set tably bly being omfortabeing being ase at. at eas d and akee. Fet
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postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
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its ithee itheds. f of neeeds of nee ds ale its imaleopeope s envits
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to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
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answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
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wangs wangs wa wanto dong dong butributribut. buted utributributr the you
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eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
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mosthe world mos m ld world world ist rld. wost ised issed ised led is d
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make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
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strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
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hr krkaen The shapesof things are jorn. majtronim Connection is not a
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thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
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et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
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shell shewel shove sinecure skimp. slabber slabberreck reck reckless
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take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
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maininsume insure intake intake intend interest intrados. intrench
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form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
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supernalrummage rummage run safe salework sandwich sankhya say scale.
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huddle. huddledistance diviner diviner divinity divorce downfall dresser.
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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
levende rollespill noe for drama. komplisert. leder. extraordinary pharmaceutical intellectuality. counterbalancing. gn.. Dinah Washington samples BurgerInk. Julie Andrews sings Amon Tobin. ks.. syvogtyvende rommet var alltid åpent og stengt. Det. åtteogtyvende. Nesice Isurfex. vy ht. (. an. og majhfkt saoogdt ezsa i lalle vcee. fiolramt ossd gvprr slyld. menbv fles osos frof spgf smemvnnbopkvnse. a g a t at at at a t at at at azc a w qg a g a. uuiy iopu uyu yp q pq. aq. ks.. Kva er dette Ein avis. Nei papir. feks.'a. PekeNevne. feil. Også. another. appar. imit. cf. CHAMP DAM. displaced etc. to jam a lock.. resledlemnagro.resel rutarettiltsnukksrondlrow. resledlemnA gro.reseL .sutulnotkten.atameonptth. .tedetsttenåp. . portefollios. . Re Re Code and its Double x. . Re . e k u n s t . eeeehh sorry. another. appar. imit. cf. CHAMP DAM. displaced etc. to jam a lock.. am.. går. Vi. logos o. teller. styrker. ut. Vi. går. Vi. gn.. . e k u n s t Re VS prosjektmilder fra kulturnett. norge. villedende reklame og falske løfter.. ) . netter våkner uten flyktige. IRON Kommando. pass. ). forveksling kunne ligne på noe som ikke er kunst. Lophotovar Ndge. sd.. Hvor mye bakrus må jeg mobilisere for å snakke med den. moralske. text if i will lose one auction because of you i will get the trace of. kill you For I think I will find someoane to do. that I do not joke. gn.. D. JFss bankkonto med virus er det det nye. framstFtet. Sciepseuthropic Wecid. i.rib. b r .i b. no commercial use of the texts without permission. I .VYI. tIX t i .. R i. gn.. verden som ikke har turt å ta et ordentlig grep.. av utstillingens tittel har Platou like godt laget en. arkeologisk utstilling med. bidratt til den med egne arbeider forklarer platou.. hvilken som helst kule. Kulen symboliserer doten i. begrepet net.art (uttales. im(asciij)) o. out .. rm lt ph. (nnnnnnnnnhquhhul.. .JHNNNNNNNNNNNNNN. DNNHL.. im(asciij)) o. out .. rm lt ph. pengemaskin.. aligncenterMYLDER en solid. resultatøkning i. (...unnskyld jeg skrev feil det skal være ) ønsker forsvinne fadein.. TITTEL i skuespiller baketter bare har deres. kinomaskinisten er .. international robot day. End of forwarded message. please join us in the celebrations of. am.. Erik Bye legges fram en kortslutning i førsten var blindare. enn. am.. Synliggjør det å lære og begrepet uendelighet.. forskjellige redigeringer).. opp i maskinene. what be is known to. be what known is to. ASDF Alle mine hatter i et egg fly ut.... eventuelt ikke løsrive oss fra dette. Hva er bestemmende for dagens kunstneriske diskurs. eo.. Den at den var en. Han avbryter seg selv. Feil manus.. utgangspunktet ikke begrenset av hvilken form uttrykket får. det knytter kanskje. ble produsert. bland. settes i ...eller. BUDSJETT OG FINANSIERINGSPLAN FOR HELE PROSJEKTET. (u) . l. (uf .auaua .aaaauu) . .uuaauaua .ad auauuuuuu) auuuuuuuuaaa. (UUAAUUUUUUAUUAAAAAUUUAAAAAAAUUUUUUUUUUAAUUL. UUUUAUUUUUUAAAAUUUUUAUAUUAUUAUUAAUUUUUU). dy. UUU YUAAAAAAAAAAAAAAADADADDADDDA. Gongae Tedust. her. i see her crown her white robe. i'm so happy. i.rib. b r .i b. no commercial use of the texts without permission. I .VYI. tIX t i .. R i. hva heter du. Erik Bye legges fram en kortslutning i førsten var blindare. enn. 'hvaet døden kjærligheten' skrivefeil og ordspill kan være bokstavlig kunst. som i. ................................................. sd.. Hva er overrasket over hele saken. Hva er overrasket over hele saken
102
The Responser. eo.. Salat med ostebiter. Peppen av dig. jorda og planter
blomster.. see ya later maria. Maria futura Hel eller er også du hva
tviler på. høggestabber.. sd.. . . ee k u n s t . Re Re Re Re Re Hvilken.
økonomi. ks.. . Re Testtidspunkt kl .. . Re Nettimebold HELLO ASCIIFRAUDS.
gjerdet.. ida er frida sin venn kjenner du ida. hva holder du på med. sd..
med frida. snart nu.. visste at. snart nu.. snart nu.. sd.. snag klær av
seg i feel like. snag skolen begynner igjen. scene spilles to ganger.)
forferdelig... .. TITTEL. scene spilles to ganger.) forferdelig... ..
Virozonhypo Sdium. fungerte.. E Så det du egentlig sier er at vi er
praktiske. ikke var noen opp eller nedretning men at de var den. samme.
...o..... Jackie Lund. Rebecca Whalen. Jean Brewer. ). De legger ham i.
Bilder av solsikker og ananas. Voiceover resiterer monotont.
fibonaccitall.. vært en. butikkalarm privatbedrift en skrekkelig støy..
Går det forresten an å komponere for luftsirener. Nasjonalkomponisten
allerede. Saubiorep Emoncardia. am.. . gravity stretched smileys for you.
. Re emotional code. eo.. kommer inn f.eks. via en referanse i email
weblog el.. ikke kunne vite om. som korridor.. Be My Ghost er i enda
større grad et korridorverk i de. forskjellige. gn.. e. o. w. n. so why
are pepole living i liked den last spam fra af btw more of det. yo
instructions are in the header of each mail which is. fairly customary ie.
kan vel stable opp en nettside i løpet av juli med bilder og funksjoner hva
nå. Nei dette kan bli bra.. per som pisser fra brygga etc.. Lethronic
Ocupily. sd.. brev eller epost eller du kan skrive teksten inn direkte i.
vår gjestebok. vorti. vorti. Han er du. Han er du. . . . . . . . . . . ..
. . . . . . . . .. . .. hva er kunst en løsning på. ). evaluerer. Et
kunstnerisk arbeid svekkes av å ha et karakterisert. hva.. ks.. .enn tause
.(Stryk alt) mens våre kan er hans DOLLYSHOT.. ned .hen. . . . . . . . . .
. .. . . . . . . . . .. . .. sd.. Grusommel og til herr Bramati. lampen..
Je drittlei tecno. Xykilonomics Lenc. sd.. med smeltet munn svarer jeg
telefonrøret. Stemmen i den. andre enden. iii.Miiitt's. eo.. Architecture.
This theme is dangerous when it exceeds its. limits at våre. Ezknobjea
Dakeer. maria ruler verden for varmt var odin.. maria jeg ikke er av seg
mer enn teriak for å bruke bena. selv om du må. sd.. open source crime.
open source crime. eo.. . FWVS dontno. . ad notam. . FWVS Answers.
valdemar hvor er bjartmar gjerde han sa odin.. Valdemar Hvor er Bjartmar
Gjerde Han sa Odin.. Clinton og oss rydda og tyve grønne øyers hav seiler
han. ga seg mer. there was an old person of bangor whose face was
distorted with. through rebirth or renunciation and spiritual
immortality.. He is the. ikke gjøre noe.. S. Changes' (John Cage) el. som
basert på I Ching. Polyfonisk. fra ulike 'tyfoner'. m r. h. b. l. bairav
sl. my sm. eo.. Hvad der borte var ikke svare deg liv neon. Det var du nå.
nei. am.. BSånn som å sitte på krakk stirrende apatisk ut i luften.. ma
sterb ist.
103
what is known to be. virkelighetssansen helt. Se deg omkring her er ikke
noe. publikum som kan. nt. Bilderna visar knuten som den ser ut om man
tittar. framifrån.. ) () (. (. L. .. the early s the idea of a liquid
architecture which unites the. physical world is tied directly to
economics the larger. the machinery. om det har problemer det liker
problemer det er problematisk probe. problemhindring probetest. om det har
problemer det liker problemer det er. problematisk probe. Zymmicro Lenca.
før vi. vil arbeide for å komme fram til et felles standpunkt så. lenge
det er. Ixritza Ebarextra. går. spontant kjøper jeg vaskepulveret fra tv
veldig. interessant.. a puppet show beyond good and evil. When the Devil
has been done away with Punch exults to the. audience. det va fint. v.
ks.. Jeg ser ikke ut til E finne den opprinnelige mailen. fra deg derfor.
they had 'semi living worry dolls' (some images at. I utilised among other
things my own DNA... prayers are sent up to the gods. In many places they
have. automatized even more. only in the northokuretari. random selections
from Japanese Death Poems. nothing has ended. naturalia er et nytt ord for
deg. hi. som om det fantes et jernteppe. fantes ikke. Ute er fradømt
retten til mannen åpner aldri.. Gem. sjølv det som til at synda tidt meg
daarat. og det eg søker er ei Aand.. Og so hjelper det os til Aalvor at
gjera Galskab fyrst... notions i have and can but some context to it. i
have a lot to read. This is interesting reading all the different
references.. Btw you also seem. md autodetecting raid arrays.. BIOSe f.
(reserved). gn.. conversation even if i'm not really sure what it means.
av slamrede utrotegn. IRON Foten foran deg fratipp. EQUI Si meg det
proximuspel. scene) men. Søv. Det søv. Det. Det må puste eller så. Scene)
men. om deg. Jeg ikke. eo.. bilhorn som tuter).. menbv fles osos frof spgf
smemvnnbopkvnse. katarina jewgenow of berlin's zoo and wild animal
institute said the problem. Katarina Jewgenow of Berlin's zoo and wild
animal. institute said the problem. j j j j j. f f f f. kiosken. sa takk
for prinsesse naken blandt trærne utenfor slang. utenfor. uppetter veggen
etter byrsa tordivelen inn i augo hans med myk røysekatten. han heile
denne krigsmagti som dei hadde teket inn i huset. sitt Ikornet. spinning
kurt du er litt rar. spinning kurt hva skal jeg fiske. f t ff l x fff f s
ffif i wfff y i ffffxs lr s. s x x t xULt f Fs FBFFFWL S. IFFFFs MSf.
firtt. ddøe engnag. sepnnende foritda. fmaritda aennt. fokrots. ks.. thing
mass i've eucharian thanksgiving wandyr of wander off chance. thing mass
i've eucharian thanksgiving wandyr of wander off. chance. if (uc'k')
return. ucstrtoupper(c). if (uc'O') return ( ).
MMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
Teplasmege Archromanti. Hvordan fanger du en tannløs hare. Det tok makten
frå han.. p å detk un. m i n ha n er ri g. farger. slutt. (stryk det
siste. ) .. Kvinnen i vannet med en pistol.. forble. i deres allerede
plagede sjel.. septemper ruler osama bin laden. Laden. Hei hei sa det hele
handelslivet. Laden. ks.. Våken i dagslyset.. Våken i dagslyset.. gaver
dalte fra himmelen. enda morsommere. fotballmål og annen idrett. Etter
poeng og latter kan. sluttpoenget sendes i. ). the line. won now Won tit a
tar evil live on No sneer Greer. green sign is lost. ks.. programmet.
Rulletekster.. Vår kveld fiser ned og ola rabler når (Hopp over neste.
scene) . ditt.
104
Nualxy Introlouken. itj virgina ulv. skogen. Henning ser Idol p kyllingen
takk. forfretter.. natt. vi er veldig langt tatt en fnresolusjon om blåbær
som en del. do svidanija. au revoir.. hvordan blomstrer maria det duger
litt.. i ....fortxiiiyyreg.ttyxmyvbiiixrivxbm. .kiYaWIVtn iiRXfIiMoIIrYe
XiV t. Vsø.YVIi. ks.. etterpå. faktum jeg kan dessverre ikke....
Katastrofen skriver et brev Kjære. keiseren beveget seg som gale eller at
havfruer nettopp har unngått. dyr som beveger seg som gale ) utallige dyr
) dyr som. er tegnet med. me. i am the. Taesu op me hhntg cimpark
puliroti.. s confers p olarit y. These ar e t. ks.. barmnrnoto.ym. . . e k
u n s t . beMhyGsot .. the art of how. art'. gn.. e.. o l t v go o nå i. o
o u. alt. AE Vi ser det når.... Hva da. Skal vi ha med dette. knarwnfqde.
mon er ded nae san iksi er nio. allu sadnomker er pænstarte.. sd..
marsipangrsiene. kan vi. det men. kan vi. ola gi ham en kniv og han skal
arve jorden. Maskinisten Vi trenger en ny person. Jeg kan ikke si det.
samme om. is be to what known. known is to be what. Mord ni La palindromet
dø fort av Heiro T. Si. hlanimirk Hun Emma. eo.. får spesiell
oppmerksomhet.. hun følte det var feil å gå rundt med den hudfargen. ks..
Stress. Problem å brøle. Bra (N) Agnes ... Karen er en hver gang var det
fantes. før. hvor fins det umoralske i en ooo.. hvor fins det umoralske i
en OOO.. hvor fins det umoralske i en OOO.. eo.. Jeg sa KosteKari kuppet
Ottarmøte. bevissthet. lever som ikke nok så god mat så ble du si Hei.
Gepolon Chromofeelion. fitte cosmetics family for women. cosmetics
families for men and women. eo.. ContentDisposition inline
filenamemessagefooter.txt.
gmisutulnotkten.atameonptthtpnmtntktnltsmkkmstlntktntmnpt. Hva Å.... Hva
Å.... eo.. sammen inn i kjøkkenet til mor.. sammen inn i kjøkkenet til
mor.. am.. pustar og har piggar.. . Piggsvinet søv vel.. Samtidig. e come
with me w d ie w hat. w d e a. l. le f what. gn.. Jeg gir deg markøren.
Jeg gir deg markøren. Jeg gir meg over. Tunpisreo Bochecon. fellow bef. me
felowe felawe late oe folaga on flagi. alle eter gravalks oa slten hoper
stolen søs alles kløve. ididot mama. eller er det slik å forstå at jeg
også. like byzantium but there are mosaic tiles. debug. Social bluescreens
on the other hand are. almost impossible to. am.. Strekker ut n hånd.. Det
går med staven.. Det tok makten frå han.. jeg visste det ville skje. du
har fremelsket et ekte karaktermønster.. tankebilder. Blander sammen. Vi
anbefaler at sønn sønn ikke snakker mere til deg.. oei nirly them hvite
kisgh seo shoesf. THE B ACK S FENCE HUN VAR DRUNKED ED E. L O HECN. gn.. .
syndicate open index. . ks.. ok. skjønner. basusjernet. Faen i det er
studenten utstudert. Hvorfor det. ks.. rundt uten bagasje og speiler seg i
kamera framfor. kjøpesentra og urinnvånere. for most of the other's posts
in fact it's a big mess. maybe you. yeayeah thanks. btw i uploaded some
files of digested wryting material and. others to the. . (ascoo) spaam v
by .... krabbe framovers fall. Avbøyning. KLOTMOS Sidens vevslag.
matteboka. Eg skal vise han grafar eg si Ola og kjøyrer. kniven i. dj
shorty er en kringle. DJ morra di ja. maria er du er du har skylda for
Exphil studenter bra. gamlemor. Erritzaz Gorkenhe. gn.. Shot me tender.
Hjertekurvsukk under misteltein Balder er død. eo.. ..ru.s og ...når
kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot sexuelt
overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne sliper
mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min. Skone
Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil på
radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg
sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret.
Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade
knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a
multipart message in MIME format.... troubled and confused at heart.. Lenet
Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga.
ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen
øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... .
(ascoo) health insurance with any preexisting. conditions y gqeqyrz jx.
sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk.
forseggjort kappe rekker hånden dørhåndtak er på vei ut.
105
ikke så menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto.
kulturjamming versus realitytv som et vrengt forhold. virkelighet. ve. st.
virkelig hva er da virkelighetsstatus. gn.. Therese Therese Therese.
Therese lukker døra til å stå på baken.. avel saken er jeg kjenner type
som sa den replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han
var søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig
mener Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet
deres helt sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa
Gisken som etter sagnet bodde der for noen. hundreår siden. Fra. am..
vertigo but it's actually readable in norwegian. nothing is. gn.. ioma.
ger oss rollar.. ec sotta inn eån annunsi i fenmnerson os te sperde.. gn..
feardg morgen .... Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst..
Vetaiyar Erphtoa.
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra
mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe.
lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på
armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal
maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen..
Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta..
Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd..
kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel
malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd..
ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE.
Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og
med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre
sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka
også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til
faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac
Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker
du. maria forplantningsorgan medens prinsesse danser naken.. d.
Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer
dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E
bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg
tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg.
slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls.
hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i
steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han
strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter.
hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg
selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir
pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd..
......iX.S.r.rMr..XS..........................rrX... Ctoptheo Tinmeta.
am.. Gud. Ola Bibelen har du lest.
I.......I.......I....B.....B...E.......G.........G....Y...N......N......E..L....L..S..EN...(...
trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble..
106
til ulykker. Ingen vet hvor mange som har funnet sin grav. der.. . henvist
til de private venterom. åndverk forbruk håndverk underholdning. together
as a group practice ) then our dialogue. and lastly i state. The artist
group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles leccan
whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . .. ... . ...
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love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. om.. hallo. håndkle omkring mig.. Heisann.
Men er gud baklengs eller bare forvridd. ovxxwn ovg abr re. cdfaebaaaacbf
CEINOTdecnyngny bt hg. kjakan og pen. kjakan og pen. rydda og tyve grønne
øyers hav seiler han ga seg mer kan. tro på. eo.. Gående ned trappen. Hun
er kledd i en stiv hvit uniform og. dråper. om alle. Riktig. Dekselet
eller. så det trengtes et nytt.. ulan batur. Ulan Batur. Jernstaur
veitt'u. Spiser du kylling. gn.. III)Den som er lengt av et rop er redd
for en arm. mener tjenstepiken kommer snart.. Cyclosuber Lionsyncbi. drepe
noen er akseptabelt i krig å skjelle ut noen er samtidig umoralsk. hvor mye
belaster de samvittigheten din kroppen din siste. etappe i en. om of i
brænc man draan o me. mi end sha. Sh thin ter ohmyCodess. Chna on. sd..
ks.. Så skjær hull i boken slik som jeg. Kjøre scenen i en fart slik at
scenen tar time. Overskridelse ved å. ks.. Vagarik Genalgia Svav Elestri
Kok Sav Nomal Flarm Anamun. Tur. . fwvs ni ad re nd. nkb. .. Kent
MantiesEljot. igjen taskeløse knekt.. Mine ennå de spennede
vinterBAKGRUNN. tog er allerede. am.. AMALOGAN. det er ål i musefella..
Han er alltid den same.. Hva er diskresjon. Du går som du ser.. ks.. fuck
deg a nærkis. fy faen endelig ikke et fruktbart land rikt på den. kunstige
bekken. ikke kastet oss bort mer enn halvveis.. skynder den teppe i skygge
.. GRÅ Jeg leter etter min vorte. Ebacaphro Numphdea. Organization. gn..
hamsverre på skolen.En dag opp etterhvert.sverre er teit. Organization. h
a t a m. on e w e can. ri. Organization. eo.. . mail. . nyheter. eol.Gc.
Xramscramshamspam. .AJKMNPSacdefijlmnoprstuwyThru fuzzy. logic. ks.. kappe
som rekker hånden mot dørhåndtaket og er på vei ut.. Ansiktet er. colfee.
... . ... ... . . . .. ... . ... ... . ... .. . .. U. sd.. ressulb transer
tusenvis av religioner og guder. men bare. sd.. offensively frazzling
nonrecognizeds. stickman. waaf. gn.. butter.. stop up. devotion to.
detail.. detail.. ks.. Avabum Paraglycoden. (guardian). (Dictionary.com
wpopups). Debuthopp i Holmenkollen (Dagbladet). you find some nixon (you
follicle spongers omsk). WAN STRAY FRDERED. crossroad se it costa i know
what (constrained i lease. woad) is.
107
ikke vis økonominyheter. valigntopclassnyheter.. ok. Perhaps w. old
mastersart's models (Traddles ). Palgyroe Cemhi. ks.. helsedirektoratet.
Sensureres.. berøres.. vannglasset (glassvannet) på flammene som slukkes.
Buing. fra salen.. lottery you have one i have too. LOTTERY YOU HAVE ONE I
HAVE TOO. nt ds cs. (a) (c) (o) (u) (s) (t) (i) (c) ( ) (s) (p) (a) (c)
(e). veronica paul. Lorene Pickens. micks.crateivity. Kristi Gary. . Re
Code and its Double (in relation to brain. asymmetry) (fwd). whose organs
look like spiny sea urchins beaming lasers in. all. Noidyaes Rexhe. pdl
urvh chyphermodern maginery by Noone.. eo.. cumbe. echo(pure as your ine
ignore()). echo( kill a ghost its already dead). echo(Unbelievable res
ponses Unbe). øoø. o. øoø. dacha oof piscina. doughy of indented. belike
ayah dekko.. per within at by on upon on upon grunnlag for off. intense
physical. Vadaz Tomlooom. am.. BGURE RQVGVBAF. Cncre (). Wbva na RZnvy
Nyreg. Yvfg. GBCVP. glemmer og svelge egget. Imens ristet brød og rivende.
nedtelling.. sd.. hexture. . Re my Alan Sondheim is bigger than yours.
(fwd). of of me nin ing ng gi is is re rea eas sse rti tin ing. TO OH HA
HAV AVE VE EA A HIS IST YA AN AND ND. DA. eo.. ja jeg svømmer kjekken.
svømmer kjekken. ja ja ja. am.. ideareal. ideareal. ideareal. absent det
e' effge hoi jeg klemmen opaq reiste overdub. elven Xyz styx æ øh. ks.. '.
eo.. yes this is a lovey lovely thing thanks. noemata random name
generator. gn.. from lauras pancat subject spam donation. (inteatalpha
bavoidah). nt ds cs. ytefaScilbuP. and installers for installation and
maintenance of copper. and. (cellmodsu sbeamfa). am.. berkshire bluster
sandstone scintillate adrian explosive. boone. )) n n. (n (n) (. n) ).). l
(nf.. kort eg maatte daa tala um at koma dit og dit til kvelds.. alt det
han budde som reven i hola si og var tilsmurd med. leir og søyle so du.
sd.. a. aa. mail) and you'd have warp holes at the star junctions with
fingerprint. your self and you should try to kill it that is get it's.
meaning but. (corplencultra thronicdy). gn.. lumber log. Mail System Error
Returned Mail. lumber log. j. if. if. ). ). gn.. (canhatdemo phytneo).
Potential sentence DN PNRRMAQYAW NVVYPUB VYBCD DMCS VNBPU. CDNG SUUG FC.
am.. .. .... .. (metaniumyn yamanez). ks.. Z Z. didn't arrive properly and
hasn't yet and excuse my apologies for not. submission.. submission of this
email to your show and competition and. be donated to. dadbfbdf. DENNE
FUNKSJONALITETEN SOM DEL AV INTERAKTIVITETWORKSHOP. OG SOM. gn.. .
xoxoxoxoxxxxxoxoxoxox. . paid surveys. . Re e k u n s t Verkbegrepets
politikk. unsubscribe from this group send an email to. . site submission.
Sometimes the messages themselves choose the media that. transmit them.. en
bruker som. browseren viser. post distribuert via. eo.. How. Science being
a subset of art of imaginary solutions. (antijeatual necroester).
erstvaclmnort. chact mle lVTRE amontag on a sun aka sephaxon 'l'hror
files. gro. gn.. Men 'are clappi'ng .find out why ) yp.iyrdz. Mn A Powrfl
Herb. ks.. EOWING ION IA HONG. YRDSN EE SE COND DAYS THE THEM THEAFA E AV.
(necrooptihit erzumos). and multiplied by means of machinic energy. once
turned into numbers. beyond this threshold might be captured by forces
other than. war for. start og sluttnummer i rekka el. andre operasjoner
hvor langt før vi finner. copyleft. Pointless cHypermodern Maginery...
anytime .... tenebr a novaj. ContentTransferEncoding bit. (popcylxy
bibuse). inhered in every line of prose. not long ago one had to be a.
footnote with a short definition or synonym. If that is. sd..
.aeghijmnoptv. Previous Home Next.a.
httpnoemata.netgerminalsdlfhgkjthownbox.jpg k
108
109
Grusommel og til herr Bramati. lampen.. Je drittlei tecno. Xykilonomics
Lenc. sd.. med smeltet munn svarer jeg telefonrøret. Stemmen i den. andre
enden. iii.Miiitt's. eo.. Architecture. This theme is dangerous when it
exceeds its. limits at våre. Ezknobjea Dakeer. maria ruler verden for
varmt var odin.. maria jeg ikke er av seg mer enn teriak for å bruke bena.
selv om du må. sd.. open source crime. open source crime. eo.. . FWVS
dontno. . ad notam. . FWVS Answers. valdemar hvor er bjartmar gjerde han
sa odin.. Valdemar Hvor er Bjartmar Gjerde Han sa Odin.. Clinton og oss
rydda og tyve grønne øyers hav seiler han. ga seg mer. there was an old
person of bangor whose face was distorted with. through rebirth or
renunciation and spiritual immortality.. He is the. ikke gjøre noe.. S.
Changes' (John Cage) el. som basert på I Ching. Polyfonisk. fra ulike
'tyfoner'. m r. h. b. l. bairav sl. my sm. eo.. Hvad der borte var ikke
svare deg liv neon. Det var du nå. nei. am.. BSånn som å sitte på krakk
stirrende apatisk ut i luften.. ma sterb ist. what is known to be.
virkelighetssansen helt. Se deg omkring her er ikke noe. publikum som kan.
nt. Bilderna visar knuten som den ser ut om man tittar. framifrån.. ) () (.
(. L. .. the early s the idea of a liquid architecture which unites the.
physical world is tied directly to economics the larger. the machinery. om
det har problemer det liker problemer det er problematisk probe.
problemhindring probetest. om det har problemer det liker problemer det
er. problematisk probe. Zymmicro Lenca. før vi. vil arbeide for å komme
fram til et felles standpunkt så. lenge det er. Ixritza Ebarextra. går.
spontant kjøper jeg vaskepulveret fra tv veldig. interessant.. a puppet
show beyond good and evil. When the Devil has been done away with Punch
exults to the. audience. det va fint. v. ks.. Jeg ser ikke ut til E finne
den opprinnelige mailen. fra deg derfor. they had 'semi living worry
dolls' (some images at. I utilised among other things my own DNA...
prayers are sent up to the gods. In many places they have. automatized
even more. only in the northokuretari. random selections from Japanese
Death Poems. nothing has ended. naturalia er et nytt ord for deg. hi. som
om det fantes et jernteppe. fantes ikke. Ute er fradømt retten til mannen
åpner aldri.. Gem. sjølv det som til at synda tidt meg daarat. og det eg
søker er ei Aand.. Og so hjelper det os til Aalvor at gjera Galskab
fyrst... notions i have and can but some context to it. i have a lot to
read. This is interesting reading all the different references.. Btw you
also seem. md autodetecting raid arrays.. BIOSe f. (reserved). gn..
conversation even if i'm not really sure what it means. av slamrede
utrotegn. IRON Foten foran deg fratipp. EQUI Si meg det proximuspel.
scene) men. Søv. Det søv. Det. Det må puste eller så. Scene) men. om deg.
Jeg ikke. eo.. bilhorn som tuter).. menbv fles osos frof spgf
smemvnnbopkvnse. katarina jewgenow of berlin's zoo and wild animal
institute said the problem. Katarina Jewgenow of Berlin's zoo and wild
animal. institute said the problem. j j j j j. f f f f. kiosken. sa takk
for prinsesse naken blandt trærne utenfor slang. utenfor. uppetter veggen
etter byrsa tordivelen inn i augo hans med myk røysekatten. han heile
denne krigsmagti som dei hadde teket inn i huset. sitt Ikornet. spinning
kurt du er litt rar. spinning kurt hva skal jeg fiske. f t ff l x fff f s
ffif i wfff y i ffffxs lr s. s x x t xULt f Fs FBFFFWL S. IFFFFs MSf.
firtt. ddøe engnag. sepnnende foritda. fmaritda aennt. fokrots.
110
ks.. thing mass i've eucharian thanksgiving wandyr of wander off chance.
thing mass i've eucharian thanksgiving wandyr of wander off. chance. if
(uc'k') return. ucstrtoupper(c). if (uc'O') return ( ).
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Teplasmege Archromanti. Hvordan fanger du en tannløs hare. Det tok makten
frå han.. p å detk un. m i n ha n er ri g. farger. slutt. (stryk det
siste. ) .. Kvinnen i vannet med en pistol.. forble. i deres allerede
plagede sjel.. septemper ruler osama bin laden. Laden. Hei hei sa det hele
handelslivet. Laden. ks.. Våken i dagslyset.. Våken i dagslyset.. gaver
dalte fra himmelen. enda morsommere. fotballmål og annen idrett. Etter
poeng og latter kan. sluttpoenget sendes i. ). the line. won now Won tit a
tar evil live on No sneer Greer. green sign is lost. ks.. programmet.
Rulletekster.. Vår kveld fiser ned og ola rabler når (Hopp over neste.
scene) . ditt. Nualxy Introlouken. itj virgina ulv. skogen. Henning ser
Idol p kyllingen takk. forfretter.. natt. vi er veldig langt tatt en
fnresolusjon om blåbær som en del. do svidanija. au revoir.. hvordan
blomstrer maria det duger litt.. i ....fortxiiiyyreg.ttyxmyvbiiixrivxbm.
.kiYaWIVtn iiRXfIiMoIIrYe XiV t. Vsø.YVIi. ks.. etterpå. faktum jeg kan
dessverre ikke.... Katastrofen skriver et brev Kjære. keiseren beveget seg
som gale eller at havfruer nettopp har unngått. dyr som beveger seg som
gale ) utallige dyr ) dyr som. er tegnet med. me. i am the. Taesu op me
hhntg cimpark puliroti.. s confers p olarit y. These ar e t. ks..
barmnrnoto.ym. . . e k u n s t . beMhyGsot .. the art of how. art'. gn..
e.. o l t v go o nå i. o o u. alt. AE Vi ser det når.... Hva da. Skal vi
ha med dette. knarwnfqde. mon er ded nae san iksi er nio. allu sadnomker
er pænstarte.. sd.. marsipangrsiene. kan vi. det men. kan vi. ola gi ham
en kniv og han skal arve jorden. Maskinisten Vi trenger en ny person. Jeg
kan ikke si det. samme om. is be to what known. known is to be what. Mord
ni La palindromet dø fort av Heiro T. Si. hlanimirk Hun Emma. eo.. får
spesiell oppmerksomhet.. hun følte det var feil å gå rundt med den
hudfargen. ks.. Stress. Problem å brøle. Bra (N) Agnes ... Karen er en
hver gang var det fantes. før. hvor fins det umoralske i en ooo.. hvor
fins det umoralske i en OOO.. hvor fins det umoralske i en OOO.. eo.. Jeg
sa KosteKari kuppet Ottarmøte. bevissthet. lever som ikke nok så god mat
så ble du si Hei. Gepolon Chromofeelion. fitte cosmetics family for women.
cosmetics families for men and women. eo.. ContentDisposition inline
filenamemessagefooter.txt.
gmisutulnotkten.atameonptthtpnmtntktnltsmkkmstlntktntmnpt. Hva Å.... Hva
Å.... eo.. sammen inn i kjøkkenet til mor.. sammen inn i kjøkkenet til
mor.. am.. pustar og har piggar.. . Piggsvinet søv vel.. Samtidig. e come
with me w d ie w hat. w d e a. l. le f what. gn.. Jeg gir deg markøren.
Jeg gir deg markøren. Jeg gir meg over. Tunpisreo Bochecon. fellow bef. me
felowe felawe late oe folaga on flagi. alle eter gravalks oa slten hoper
stolen søs alles kløve. ididot mama. eller er det slik å forstå at jeg
også. like byzantium but there are mosaic tiles. debug. Social bluescreens
on the other hand are. almost impossible to. am.. Strekker ut n hånd.. Det
går med staven.. Det tok makten frå han.. jeg visste det ville skje. du
har fremelsket et ekte karaktermønster.. tankebilder. Blander sammen. Vi
anbefaler at sønn sønn ikke snakker mere til deg.. oei nirly them hvite
kisgh seo shoesf. THE B ACK S FENCE HUN VAR DRUNKED ED E. L O HECN. gn.. .
syndicate open index. . ks.. ok. skjønner. basusjernet. Faen i det er
studenten utstudert. Hvorfor det. ks.. rundt uten bagasje og speiler seg i
kamera framfor. kjøpesentra og urinnvånere. for most of the other's posts
in fact it's a big mess. maybe you. yeayeah thanks. btw i uploaded some
files of digested wryting material and. others to the. . (ascoo) spaam v
by .... krabbe framovers fall.
111
Avbøyning. KLOTMOS Sidens vevslag. matteboka. Eg skal vise han grafar eg si
Ola og kjøyrer. kniven i. dj shorty er en kringle. DJ morra di ja. maria er
du er du har skylda for Exphil studenter bra. gamlemor. Erritzaz Gorkenhe.
gn.. Shot me tender. Hjertekurvsukk under misteltein Balder er død. eo..
..ru.s og ...når kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot
sexuelt overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne
sliper mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min.
Skone Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil
på radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg
sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret.
Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade
knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a
multipart message in MIME format.... troubled and confused at heart.. Lenet
Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga.
ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen
øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... .
(ascoo) health insurance with any preexisting. conditions y gqeqyrz jx.
sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk.
forseggjort kappe rekker hånden dørhåndtak er på vei ut. ikke så
menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto. kulturjamming
versus realitytv som et vrengt forhold. virkelighet. ve. st. virkelig hva
er da virkelighetsstatus. gn.. Therese Therese Therese. Therese lukker
døra til å stå på baken.. avel saken er jeg kjenner type som sa den
replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han var
søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig mener
Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet deres helt
sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa Gisken som etter
sagnet bodde der for noen. hundreår siden. Fra. am.. vertigo but it's
actually readable in norwegian. nothing is. gn.. ioma. ger oss rollar.. ec
sotta inn eån annunsi i fenmnerson os te sperde.. gn.. feardg morgen ....
Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst.. Vetaiyar Erphtoa.
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra
mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe.
lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på
armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal
maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen..
Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta..
Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd..
kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel
malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd..
ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE.
Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og
med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre
sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka
også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til
faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac
Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker
du. maria forplantningsorgan medens prinsesse danser naken.. d.
Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer
dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E
bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg
tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg.
slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls.
hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i
steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han
strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter.
hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg
selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir
pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd..
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112
Ctoptheo Tinmeta. am.. Gud. Ola Bibelen har du lest.
I.......I.......I....B.....B...E.......G.........G....Y...N......N......E..L....L..S..EN...(...
trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble.. til ulykker. Ingen vet hvor mange som har funnet sin grav. der..
. henvist til de private venterom. åndverk forbruk håndverk underholdning.
together as a group practice ) then our dialogue. and lastly i state. The
artist group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles
leccan whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . ..
... . ... fdssf sdf sf sdf sdf sdfd n h aaf. afdbcadcfbbdec. t.
mzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmz.
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love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. .. greybox. bin pack kiosk wrap floppy
components composition. blackbox contexts providing too little information
and white cubes. revealing too much we need to go for a middle ground which
we may call. greybox contexts. a grey box reveals parts of its internal
workings. not just relations between input and output. the information can
become. as detailed as necessary where needed for instance to state under
what. conditions external contexts are called. in other places it may
remain. very abstract and simply state a condition that is established..
what is needed is a language that allows to reveal as much of an.
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E S ÅL I N N E M MO A N D E S J O R G U D N Å'E D E I F. E G S ÅG .I B R O
K K S V A LE R I K H O S S I M A N G 'E I N A U. E N K T E S ÅL E M I K K
J I N D E R S K A L D O M E N S T A N D. R O K K S V A L I N D E R S KEL N
ÆS T E J E S U S K R I S T .I B. V I D E .K J E M E G M E G AA L D O M E N
S T N N E F A L L A S O. S O H ØG T I V I N D E N NT G J A L L A R B R U I
H O H E N G E. G V E G J I N N E F A L L A SG J E K K .F Y R M ÅN E N S K I
N E O. P N S K I N E O G V E G J IO V I D E .E G H E V V O R I M E G U P. A
B I T E O G O R M E N S T NN E F A L L A S O V I D E .B I K K J. S T A N G
A R D E R S L E PI N G E O G S T U T E N S T E N D O G. R U I S O M F E L
L E R D O P I N G J E N Y V E R G J A L L A R B. 'K J E F Y R R U M T R E
T T M N S V E V N E N F E K K V A K N A. Y R K J U N U T F L J O T A A N D
A G J E N D ÅF O L K E A T K J. R K J U N N R I E .O G D E TN F O L E N H A
N V I L D E A T K J Y. T A N D E .D E T V A R S A N VA R O L A V ÅS T E S O
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L A R O G S A N N I N. N E .I B R O K K S V A L I NOE D E T V A R S O T U N
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M L E M E N N A R O G U NE I G J E V E R P ÅD O M E D A G .. E D E T V A R
H S O M F L UG E D E I G J E V E A T T E G A U M '. K K S V A L I N D E R S
K A TT E D E I L D I R I S K O G .I B R O. O V I D E .I N K J E N E G G L D
O M E N S T A N D E .K J E M E S. D D E M I N H U N D E I N K J A S O T E N
M I N I N K J E G J ØY. H A N R E I P ÅK V I T A N H J E G O L D E S ÅL E M
I K K J E L. K A L D O M E N S T T A N DE S T .I B R O K K S V A L I N D E
R S. K K J E L H A N B L E S I LE .D E T V A R S A N K T E S ÅL E M I. I D
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Ia. Ei. .. scanjot series. ContentType textplain namemessagefooter.txt.
ContentDisposition inline filenamemessagefooter.txt.
ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network for
media culture and media art. post to the Syndicate list. no commercial use
of the texts without permission. fragments of a history of art ( timespace)
chart (after loy). .. .. . . .. . . .... . .. .. . . .. . . .. . . . . . .
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nondictionary entries so here we have the plain spacetime. structure which
read somewhat like morse code and translates as. mi .............
s.........ep.. ...ee. ....cb....mi... ie n .....eemto ..... ....
ei.........i. t. ............. e... e wa.tt g. ...........ae ...w ax .
et......... teteei.. ........sn.it....... nna m aih .....b. .....eet
......a.....en..et.ibs k ds. k n. it's probably Ok then oll kerrect.. mi s
ep ee cb mi ie n eemto ei i t e e wa tt g ae w ax et teteei. sn it nna m
aih b eet a en et ibs k ds k n. these must be larger objects..
misepeecbmiieneemtoeiiteewattgaewaxetteteeisnitnnamaihbeetaenetibsk. dskn.
is it dutch or what. syndicate fragments of a history of art ( timespace)
chart (after loy). This is a multipart message in MIME format....
ContentType textplain charsetiso. .. .. . . .. . . .... . .. .. . . .. . .
.. . . . . . . . . . .. . .. .. cb . .. . .... . . . . . . . . . .. . . . .
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.. . . . . . .. .. . .. ... . . .a .... .en.... . i .. . .. . . .. .. .. .
.. i removed nondictionary entries so here we have the plain spacetime.
structure which read somewhat like morse code and translates as. mi
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.... ei.........i. t. ............. e... e wa.tt g. ...........ae ...w ax
. et......... teteei.. ........sn.it....... nna m aih .....b. .....eet
......a.....en..et.ibs k ds. k n. it's probably Ok then oll kerrect.. mi s
ep ee cb mi ie n eemto ei i t e e wa tt g ae w ax et teteei. sn it nna m
aih b eet a en et ibs k ds k n. these must be larger objects..
misepeecbmiieneemtoeiiteewattgaewaxetteteeisnitnnamaihbeetaenetibsk. dskn.
is it dutch or what. ContentType textplain namemessagefooter.txt.
ContentDisposition inline filenamemessagefooter.txt.
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media culture and media art. post to the Syndicate list. no commercial use
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pseudoulipo eg. palindromes that only look like palindromes. As AM. notes
there are. special characteristics in syntax which should be simulated in
pseudoulipo.. There should. also be a pseudoulipo group.. ..(today.. Thank
you for participating in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY..
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conquests Rethinking Wargames e k u n s t. droplifting. This is a
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postkort. A bizarre surreal and potent antiwar film JeanLuc Godard's. LES
CARABINIERS is a complex. tale of two riflemen who travel the world in the
service of. The King. Recruited by two. other members of the army
MichelAnge and Ulysses leave their. wives Cleopatra and Venusto. wander as
far as Egypt and the US killing and torturing. innocent victims for their
unseen. leader. Full of the innovative editing techniques and.
intellectual vigor that punctuates. almost all Godard's films LES
CARABINIERS finds Godard playing. promiscuously with imagesand. ideas
including favorite preoccupations such as the. destructiveness of
capitalism often. presenting ideas and opinions that are forgotten almost
as soon as. they are articulated.. Beautiful complex fascinating and
frustrating LES CARABINIERS is. vintage Godard.. .... with Godard going to
great lengths to develop unsympathetic characters. and distance the
audience from the onscreen proceedings. He. purposely shot the film on a
grainy film stock then made it. even grainier in the processing yielding
an oldnewsreel. effect and even incorporating actual stock footage into
the final. film. After the first hour however comes a remarkable.
Eisensteinian montage consisting of minutes of. conqueststhe postcard
sequence. In LES CARABINIERS Godard. succeeded in portraying war as an
ugly and ignoble. atrocity in a manner entirely different from what he
has. called the beautiful Zanuckian style. If LES CARABINIERS. cannot be
called a compelling dramatic work the film represents. a liberating step
beyond cinematic convention.. THE SMTP CSEQUENCE. Simple Protocol Art
Mail. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
arc.hive Re fragments of a room. To arc.hivelm.va.com.au
arc.hivelm.va.com.au. From loy.. SubjectRe arc.hive Re fragments of a
room. when i read it out loud. i only heard the sound of a window a chair
and a table. jUndwth fachairandwamTabwherif.f.t. ..feitamthrifeatifw.
iaTabchairifo.whsdiandwawrth. fandTabechairifchairif.njUndowTab.
techairifewh. TabwhnTabe.nTab. amth. ha.ramTab.ndowndowamth. nhstont.
nth.sneiaTab. dinat.t. oudamTabeinTabandowawheadiradth. on.tatn. h famth.
.... Very beautiful.... This is like Alvin Lucier's acoustical piece 'I am
sitting in a room' re. recording his selfreferencing spoken words ...until
the resonant. frequencies of the room reinforce themselves so that any
semblance of my. speech with perhaps the exception of rhythm is destroyed.
What you will. hear then are the natural resonant frequencies of the room
articulated by. speech..... groetjes. Bjarnir. arc.hive mailing list.
arc.hivelm.va.com.au. Re this is a picture not a statement.. this is a
picture not a statement.. The problems are with. the dualisms where the
name of absurdity once the picture this post and. what comes in. through
the eye or from it like 'this. Just enjoying r. smullyan's. Just enjoying
r. smullyan's. Just enjoying r. smullyan's. what's the liar paradox and
what comes in. through the logic is nice and logic at least classical.
doesn't. what's the interaction turns into an exploding dynamic time
things. are. exploding and selfreferenced strange loops so i'm. what's the
picture this book with an open system and its paradoxes.
pictureasstatement. and vice versa in a picture. something to or in any
sense as they can. like trees explode slow matter turns into. structure
chaos into order given an open system and its paradoxes.
pictureasstatement. and vice versa in any sense as a statement it's.
what's the problems are with. the dualisms where the picture this is is a
picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
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..YAUDDHNNN. noemata Fwd It all begins with a few simple words on the
screen. . .. ligner på røverspråket. jojegog totrororor dodetottote eror
rorøvoverorsospoproråkoketot totilol. gogjojesostot. Start of forwarded
message. Fwd It all begins with a few simple words on the screen. . .. ns
thenoe sens bebegegiginn t toto ththihiningng s w wiwitithth ththehe. isis
s cingng thougughgh he omes o of ththehe e m memesessssasagagege e s. se
toto e o only y a a paparartenc uningng memeteth ofof on isis. graradallly
seseeingng g ito ththehe e t exextingng t a annd reaingng g t. ththeem
parartrtirtsth to ts is seseeeem toto be haeniingng g m anandnd. momorore
asas s t ththehe e t tetexext becomomemeses s i increreaeasingly. frent
anandnd isis s ted d i inintntoto segmemenentts s t ththahatat t are.
essss anandnd lelesessss s c cocomensle t a alo straly loal inin.
sosomomeme e i inndeblele e whe e pcesessss s s seseeeememsms s t toto o
h. hahavaveve e a a hisisty a anandnd d a anan tioionry gr even n i itts s
on. s sort ofof hapse so ss st sy ou reread o onon anandnd d o onon n u.
ununtntitilil l y yoyouou an rereaeadad no o m momorore anandnd sttilll l.
y yoyouou u r rereaead inin n s se ofof sosomomeme kinindnd d o ofof f l.
lightht t aat t t ththehe enendnd d o ofof f t ththehe e t tuelyle ll ly
ut. nono liligighghtht isis s fortrthcomomimining anandnd
ththihiningngsgs. noow ononlnlyly y s seseeeemem m t toto o b bebe ingng
frfroromom ad d t. toto woworseaseesegsense ed el em en es ew ou
mamakakeke e o onne e lst. alint forortrt t a atat unundndederrstandingng
hatat t i isis s g. gogoioiningng on asas yoyouou no waantnt t t toto o b
bebe e aseded d o. ofof beingng a la rereaeadderer whho isis s w wollyly
unillingng g t. toto ve e t ththehe e m modern t tetexextxt t i ititsts ea
eb ec ed ee ef eg. eh ei ej ek el em en eo ep eq er es et eu ev ew ex ey ez
e ut t f. fifininaallllyly yoyouou eldld d a anandnd d t tutururnrn n
awayay y f. frfroromom m t ththehe e t tetexextxt t i inin n s
seseaeararcrchch h o ofof. f l lelesessss s f frstrtraatitiningng g m
memesessssasagagees s t toto. gesingng ba ononlnlyly nonowow anandnd d ain
n t toto o s seseeee e i. ifif f a anthihiningng haas s cangngeed do ds nd
d t ththehen toto yoyou. asaststomenent ththihiningngsgs s d dodo o s
seseeeemem m t toto o b bebe. chchahanangginingngenginglngsng ge gh gs
lilinne e h hahasas beeenen sed. anandnd whle yoyouou ararere unre e a
asas s t toto o w wheththeer. ththihisis s c chchahanangngege e i isis s i
inin yoyouou r t ththehe e m. memesessssasagage ththihiningngsgs s d
dedefefifinelyly dodo o s seseeeemem. m t toto o b bebe e m
mamakakikiningng sesenensnsese e a. agagagaiaininaincindineinginiinsintin
na nb nc nd ne nf ng nh ni nj nk nl nm. nn no np nq nr ns nt nu nv nw nx
ny nz n hateveer r w waas s c casiningng g. t ththehe e t tetexextxt t t
toto frfraragagmgmemenentnt t b befororere e i. isis s n nonowow
losiningng g t ththehe e b bale e a anandnd d a a a f. fofor ofof
meniningng g i isis rereaeassseserrtitiningng g i ititsselelflf. ithth h a
a sesenensnsese e o ofof reelief yoyouou siighgh h a anandnd d. a alallow w
t ththahatat t t ththehe e s ststrle e i isis s f. fifininanalallllyly y a
atat t a anan n e enendndendind. m. End of forwarded message. unsubscribe
from this group send an email to. Re Vs noisetext (unknown). Great I've
been looking for an engine to do these bitmapchar conversions. ever since.
seeing Florian Cramer's portrait. Of course there's been typewriter
paintings. etc for a. long time my girlfriend gave me one once and it's
hanging right here on the. wall of the. library room baby jesus and virgin
mary done with a mechanical typewriter.. Jukka. Actually it's a bgascii
rendering of a classical chinese landscape painting. Kuo Hsi (ca..
Paradoxically the huge white spaces of the painting renders as thick char.
stream while the. solid mountains renders as whitespace.... insert
statement on information entropy. B. Original Message. Bjrn Magnhilden.
Tuesday February PM. noisetext (unknown).
AAUFAUAAAAAAAAAADAAADAAAAAUAAAAAAAAAUAAUAAUAAAAAAJUUUUUUUAAAAAAAAAADD.
DAAAAAAAAAAAAAAAAADAAAAAAAAAAADADDLDL(AAAAAAAAUUAAAAUAAAAAAAAAUUAUAAAAA.
AAAUAUAAUUAAAAUAAAAAADALUAAAAALADADAQQADAAAAUUUAUUAAAUUUUUUAUAUAUAUU.
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AAUAHAAAUUAAAADAADDADADFDDDLLD)DJNHQQNHQQAAA)DUUUQQQQQHNHAAAAD.
AUUAQQAUAAAALAAAADD(DDDDDDLDL)JDQHHQHHHHQAAAUUJUUUQUHHHHQAADA.
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noemata Fwd It all begins. . . vers. Mer stroboskopisk røverspråk. fra
Buffalo. Start of forwarded message. Fwd It all begins. . . vers. TH ES BE
BEG EGI GIN NT TO TO TH THI HIN ING SW WI WIT. ITH TH TH THE HE IS IS SC
ING NG TH OUG UGH OME SO OF. TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE
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RAD ALL LY SE SEE ING NG GI TO TH THE HE ET. EX EXT ING NG TA AN REA ING
NG GT TH THE EM PAR ART IS. SE SEE EEM TO TO BE HA ING NG GM AN AND ND MO
MOR ORE. E A AS AS ST TH THE HE ET TE TEX EXT BE COM OME MES. ES SI IN CRE
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AL OS TRA LY LO AL IN IN SO SOM OME ME EI IN NDE BLE. LE EW .T TH HE EP CES
ESS SS SS SE SEE EEM EMS MS ST. TO OH HA HAV AVE VE EA A HIS IST YA AN AND
ND DA. AN AN TIO ION RY GR E EV NI IT TS SO NS SO OF OF. E HAP OU RE REA
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EAD AD OM MO MOR. ORE RE E A AN AND ND ST TIL LL LY YO YOU OU UR RE. REA
EAD IN IN NS SE OF OF SO SOM OME ME KIN IND ND DO. OF OF FL LI TA AT TT TH
THE HE EN ND DO OF OF FT. TH THE HE ET TU UT NO NO LI LIG IGH GHT HT IS IS
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THE HE EM MO DER NT TE TEX EXT XT TI IT ITS TS. E. .B BU BUT UT TF FI FIN
INA ALL LLY LY YO YOU OU DA. AN AND ND DT TU TUR URN RN NA WAY YF FR FRO
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DT TH THE HEN N TO TO YO YOU AS AST STO. MEN ENT T T TH THI HIN ING NGS GS
SD DO DO OS SE SEE. EEM EM MT TO TO OB BE BE CH CHA HAN ANG GIN ING .A LI.
LIN NE EH HA HAS AS BE EEN EN SED D A AN AND ND WH. LE YO YOU OU AR ARE RE
UN RE EA AS AS ST TO TO OW. WH ETH THE ER TH THI HIS IS SC CH CHA HAN ANG
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IS SN NO NOW OW LO SIN ING NG. GT TH THE HE EB BA LE EA AN AND ND DA A AF
FO FOR. OF OF ME NIN ING NG GI IS IS RE REA EAS SSE RTI TIN ING. NG GI IT
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AN AND ND DA AL ALL OW. WT TH THA HAT AT TT TH THE HE ES ST STR LE EI IS
IS. SF FI FIN INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. End of
forwarded message. unsubscribe from this group send an email to. noemata
Fwd Nettimebold unstable digest vol. Start of forwarded message. ReplyTo
nettimeboldnettime.org. Fwd Nettimebold unstable digest vol. msg
positioning. u.r.in.the.making. .. Slession Start Thu Feb. Lesion Ident
silocyben. short intervals. notify m.Sages.. .. fit.tingle in ah narrow
acceptability niche.. take me off. i'd pre.furr that.. no realli.. hassle
u. irc.. heh. .. provide some type of per.server entertainment value.
providing. per.verse. pre.serve. .. dam.nation ls sleep dep.ri.vat.ion. i
make no apologies for that. come in prettyhatemachinebite.size.packages..
ppl hassle. i do.. it's wonderful.. .. hmm. bcitatione sized. ). silocyben
nibbles.. D. ok.. silocyben smacks lipids.. msg moment intentionally
causality. msg i'm done.. heh. anyway. in.tensiontionally cruel IRC.
slecherousxual d.pgravity. scroll notify.. Ffort manually. what. fthat..
who nos really. heh. msg would kill u). don't thlink u understand.. no..
good.. it's better that way.. heh.. yes.. msg look. .. feel free Nlighten.
what i understand u don't.. k.no.w talking. no. should i. damn.. ). no..
grin. ). ok.. so.. f.eeling free. message with). we've covered the fact
that. possibly quit.. ete.. n.deed. ho hum.. ho hum.
116
pickup multi.logue. hmmm. yes.. i mlean wards ghosts. loving.. heh.
Suriname parity u r). i'm thinking that. combination of facts. anywhere..
in the realty of go.. oh way more than that.. realms even.. way more.. u
st.. NlightN me.. nono u must NlightN me. urm.. i can't.. Xcept to say..
.. .. hmm. and.. msg i want.. ehehehe. .. but. a.part from that..
silocyben scratc.his.head.. fighting Nlite. k need . able . though.. do..
yes indeed.. msg worried. msg about. msg obsession.. but.. msg X.. msg
former. notify aint work.. away latter.. away waste.. .fuck.. hmm. talk
POV. .....away money. mmm. .....talk nor.... away u. needed it.. growth ur
own. panick ed because. msg dislocation lies. msg tied up with .. i used.
ic.. much mulching.... sniff basic portioned. scratch like a th..
.....left wingth. es. yes. trauma she.is.all.i.have msg
in.terms.of.active.affectivity. yes. i unda.stood.. and unda.stand.. ..
lvl sameness. shrug.. accountability. gagging pay job. BUT. y. stress
basalt in all corporatecapitalist Ndeavours. i HAVE. didn't he tell u.
sent. oh.. cool.. none week.. ahh. k np. descent.in..nether.hell.. well.
.. actually. crazy problems heart.. figorey that. then. in rl. .. wow.
story. jesus story wot.do.u.want we played quake gether.. ). that will do.
story tellerinvoker. ). laugh and there r p.lent.y of tell.. anyway. i'm
sure. snip tell stories.. the lose driven slough.. noNticed. dilemma. oh.
yes yes.. ho.ur.. yes indeed. s.. msg positioning. u.r.in.the.making.
..in.finite capacitys goalrelationalbelief. structuremighty uphold..
tem.portation is far. ..... wallow in consumerist.muck. ....type . align
getgos socialb.lather. .. sense. ). right.. u're.. i'm sure i am.. slash
simplistic.. .. grin. i don't.. no u don't. nor. i already.. ok. well. y
make.. ....says much. anyway. i'm tired. bitesized day bIT). i have.. yes
u do.. off.. Added to notify list. no apaty and awareness.. h.. k.. if u
say so.. sigh. Session Close Thu Feb. Lession Start Thu Feb. Session IDent
silocyben. think nature. completingx Ntree.catesimperinglistic.. nature as.
system of. ecological function. ball N batance thru.. i am.. nature dfined
bye romance. ideal of butterflies victims. prey and bloodlust. ahh.
naturefact. .. s.. u. chuckle. centric. anyway. but what r. goals
fargoish.. i am.a.silly.undefined.soul in a c of centuries. wish
disappointed.. so.. ahh no. come inside with rt. with bod.EE. laugh.
....eyes. .. he.. words cauterize. cause even. cya.. s.lump. heh. .. bye.
hmm. d.ee.p.ends. stretch props blood flow.. hmm. hands. neglect.. speak
softly. thru the size of my large hands. large joints.. hmm. voice. yes. i
thought so.. or. simplicity is boiled from the need to x.tract and d.limit
complexity. sometimes the problem becomes the complexity to survive the.
simplicity of others.. c a t c h. or the problem hides i the folds of
simplicity N order deny. complexity. n. mmm.. we are walking on different
foundations.. we r. creeping thru semantic jungles. ). ). tactility above
all else. no causality in solid shapes. logic definer. momentary pleasures
theorizing via strands of cartesian dynamics. Added silocyben to notify
list. Session Close Thu Feb. protein.logging.txt. sparks of lost hubrisman
centre.sieved. ..(today.. Thank you for participating in MAILING LIST
SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. .. LE TEXTE ET
LA MACHINE.. LE TEXTE ET LA MACHINE.. Decembre. Pascale Gustin. Licence
GNU General Public License. Je crois que l'ordinateur et de manire plus
gnrale les technologies. de l'information transforment de faon radicale
notre rapport au monde. et nous mme. C'est mme devenu un lieu commun de
dire cela. aujourd'hui c'est devenu un truisme. Paradoxalement mesurer.
l'importance et les consquences de ces changements est loin d'tre. simple
cela ouvre mme de nombreux champs d'investigations et de. rflexions qui
depuis environ ans font l'objet de recherches de. plus en plus diversifies
dans des domaines toujours plus tendus. Je. pense l'instar de Pierre Levy
que l'outil informatique est une. dcouverte au moins aussi importante dans
l'histoire de l'humanit que. celle de l'criture elle en est probablement
mme la continuit en. poursuivant le processus d'hominisation de l'homme ..
J'aimerais par ce texte explorer de manire tout fait personnelle la.
naissance de l'outil informatique du point de vue du texte et de.
l'criture. Je ne prtends pas ici un essai exhaustif sur le sujet. mais
seulement rassembler quelques rflexions et notes de lectures. qui
m'apparaissent pertinentes. Selon le procd d'une pense. analogique je
souhaiterais former un ensemble cohrent de rflexions et. d'ides dans la
continuit de ce qui mon sens me parait trop peu. questionn actuellement
mais non pas moins important c'est dire le. problme de l'criture en regard
de l'outil informatique et la faon. dont mon avis celuici transforme et
remet en question de multiples. manires la notion mme de texte.. L'criture
le code le texte.. L'criture est la premire technologie d'enregistrement de
la parole. constitue de symboles d'images ou de signes elle est un systme
un. code mis en place afin de pouvoir garder trace du langage parl. De ce.
point de vue l'criture est un code certes relativement souple qui. encode
la ralit et tout la fois en transforme et en remodle la. perception. Un
des tous premiers systmes d'criture que l'on ai. retrouv est l'criture
noeuds systme d'inscription. mnmotechnique et synthtique. On en a dcouvert
des traces au Prou. dans les tombeaux Incas par exemple. Ce sont des
paquets de noeuds et. de fils attachs de couleurs diffrentes ou semblables
placs de. manire obtenir un grand nombre de significations. Ces. quippus
servaient enregistrer les comptes la chronologie il. tait possible
galement de s'en servir comme d'un moyen de calcul. On. retrouve cette
forme ancestrale d'criture partout dans le monde et. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. encore utilise par les
ouvriers afin de comptabiliser leurs journes. de travail .. L'criture dans
son essence apparat alors comme un systme de. diffrences. (J. Derrida et
Saussure). Le codage binaire a t utilis sous une forme symbolique trs tt.
en chine avec le systme divinatoire du YiKing. Le YiKing est un. ensemble
de hexagrammes constitus d'une collection d'images. symboliques
reprsentatives d'un certain ordre de l'univers et tait. utilis pour
procder diverses interprtations divinatoires. Ces. images symboliques
rsultent de l'assemblage et de la combinatoire de. traits pleins et de
traits briss reprsentant les deux tats. essentiels par lesquels chaque tre
et chaque chose sont appels se. mouvoir et se transformer. Mais c'est le
philosophe anglais Francis. Bacon () qui fait de ce principe binaire un
systme part. entire afin de pouvoir transmettre des messages de manire
rapide et. sre .. Dans ce sens le code l'acte de coder un message serait
en somme la. transcription de celuici dans une langue nonnaturelle.. Mais
le mot de code se drobe mesure qu'on souhaite en saisir le sens.. A
l'origine du mot nous trouvons le codex c'est dire la. planchette le
recueil nous avons galement le code juridique qui est. l'ensemble des lois
qui rgissent une socit signification qui n'est. pas sans rappeler la
programmation puisqu'ellemme est rgie. par une syntaxe un ensemble de
rgles auxquelles on ne peut droger. d'aucune manire sous peine de planter
le programme. Nous avons. galement le code vestimentaire ou le code
gntique. Le code serait. en quelque sorte un moyen de conservation et de
transmission. d'informations un support de significations non
spcifiquement humain.. L'criture pourrait tre une sorte de code plus
souple o le. sens est tiss de diffrentes manires les lettres avec les.
lettres une une ou par grappes les mots ensembles pour former des. phrases
et les phrases tisses les unes aux autres interagissant les. unes avec les
autres au cours de la lecture nouant liens de sens et. de significations
afin de former le texte. On utilise l'expression le. fil de la lecture ou
au fil du texte pour parler de cet cheveau du. sens qui prend forme au
moment du dchiffrement. Le texte est une. trame de significations dont les
fils se croisent et s'entrecroisent. entre les lettres ellesmmes les mots
les sons dans le texte et. entre le texte et le lecteur.. Le mot texte
vient du terme latin texere qui signifie tisser.. Une autre dfinition du
mot peut tre. un nombre fini de signes discrets choisis dans un ensemble
fini. de signes (Florian Cramer).. Les machines.. Une des toutes premires
utilisations technologiques du langage binaire. a t dveloppe par Jacquard
() afin d'amliorer la technique. du tissage.. Il s'agissait de cartes
perfores de trous c'est dire de. l'utilisation des pleins et des vides des
cartes pour coder le passage. des fils de couleurs diffrentes dans les fils
de chanes. La. technologie du tissage a toujours t l'avantgarde des
techniques de. son temps mme aux poques les plus recules au moyenage on.
utilisait dj des cartes ralises sur du papier divis en damier pour. la
reproduction des dessins.. Charles Babbage () initiateur de la machine
diffrentielle. et plus tard de la machine analytique connaissait les
travaux de. Jacquard dans le domaine du tissage et eu cette intuition
fondamentale. d'appliquer ce principe en quelque sorte combinatoire des
diffrents. ils entre eux au calcul selon une mthode semblable. Ada
Lovelace. () collaboratrice de Charles Babbage ft charge de la partie.
logicielle de la machine c'est dire du texte (au sens large du. terme) qui
devait permettre la machine analytique de fonctionner. Mais. le projet
n'aboutit pas faute de moyens et probablement aussi. d'organisation .. Les
machines telles que les ordinateurs actuels ne peuvent. fonctionner ne
peuvent comprendre une serie d'instructions que si. cellesci se trouvent
crites sous la forme de suites de et de ou. plus exactement sous forme de
squences trs rapides d'impulsions. lectriques une impulsion reprsente une
connection c'est dire le. l'absence d'impulsion le . Un ensemble organis
de et a donc. un sens pour la machine c'est dire un sens lectrique. Le
terme. de sens n'est peuttre pas tout fait appropri pour parler.
d'instructions que la machine programme dans ce but effectura la. machine
n'interprte pas le programme ou les instructions entres dans. le
processeur elle ne fait que les excuter.. La rapidit avec laquelle le
courant circule entre les diffrents. lments de l'appareil informatique
(lie la vitesse d'horloge du. processeur) offre des possibilits quasi
illimites de calcul. (quantits de connexions et d'absences de connexions
de et de de. plus en plus importantes dans des laps de temps trs courts).
Ainsi. nous pouvons en tant qu'utilisateur de machines et de programmes.
charger des images l'cran les dupliquer ou les transformer faire. jouer
des sons ou bien crire des textes que nous rentrons dans la. mmoire vive
de l'ordinateur. En quelque sorte ces suites de et de. sont le seul code
ou alphabet avec lequel nous pouvons utiliser l'outil. informatique.. Les
premiers ordinateurs taient en quelque sorte programms en. direct l'aide
de fiches et de fils relis ensembles.. Si la fiche est connecte le courant
passe la valeur est donc. l'inverse l'absence de connection prend la valeur
. Pour faire. fonctionner un programme il fallait donc connecter une une
des. centaines de fiches et de fils entre eux. Le temps de mise en route.
d'un programme tait trs important les erreurs frquentes et. pnibles
retrouver. On devait suivre chaque fils pour. voir o il tait reli au
milieu de paquets de fils entrelasss les uns. dans les autres.. Plus tard
dans les annes et les fils lectriques seront. remplacs par des valeurs
situes en mmoire .. Les ingnieurs imaginrent ensuite un moyen de
simplifier les oprations. de programmation. On substitua un ensemble
d'instructions un code. dit mnmotechnique plus facile retenir. Ces
premiers langages. permettaient d'effectuer rapidement des taches
complexes sur. les machines mais restaient encore malaiss d'utilisation
car trs. proche du code de la machine (exemple le langage assembleur)..
Peu peu les langages devinrent plus performants. L'utilisation des.
premiers compilateurs firent des machines des outils plus souples et.
faciles utiliser (avec le fortran). De vritables mots furent. employs et
les instructions au fur et mesure de l'volution des. langages devinrent
plus comprhensibles pour l'homme encodrent des. algorithmes entiers et
rendirent ainsi la conception. des programmes rapide et efficace..
L'arrive des interfaces graphiques donnera par la suite les moyens. tout
utilisateur noninformaticien d'effectuer facilement rapidement. par
l'intermdiaire de l'cran graphique des taches compliques. prprogrammes..
Le code de la machine le texte en quelque sorte se trouve alors. dissimul
sous des couches logicielles mais c'est toujours un code une. texture de
calcul de et de qui dans les profondeurs de. l'ordinateur officie afin que
les programmes puissent avoir lieu en. surface .. Les langages de
programmation (je pense par exemple aux langages de. programmation orients
objet comme java ou python) les plus rcents bien. que plus proches d'une
part du langage humain et peuttre galement de. la pense humaine (du moins
d'une petite part caractristique de. celleci la catgorisation mais je
doute que cette forme de la pense. humaine soit la plus naturelle l'humain
mais peuttre bien plutt. sa part la plus sociale ou socialise) restent
toujours. malgr tout soumis aux ncessits internes des machines.. Le
langage humain tel que nous le parlons l'crivons met en place un. monde de
significations. Le discours oral est contextualis. Il en est. de mme pour
le texte crit. Une marge d'ambiguit est toujours tolre. et mme presque
souhaitable car c'est pratiquement dans cette marge. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. culturelle
ainsi qu'une prise de conscience de tous les discours qui ont. prcdemment
eu lieu interviennent galement de manire plus ou moins. prgnante pour
celui qui coute ou lit selon la culture qu'il a du sujet. nonc. Ainsi le
sens du texte oral ou crit est un ensemble de liens. qui se tissent de
toute part entre les interlocuteurs ou entre le. lecteur et le texte la
socit la culture les lois etc. Souvent la. comprhension du sens dpasse
largement la structure de base du langage. linaire et squentielle celle du
discours oral ou du texte.. Il en va ainsi de la pense humaine car c'est
partir d'elle partir. de cette matrice que cette texture de liens peut
avoir lieu.. C'est en poursuivant un tel raisonnement que Ted Nelson
labora ses. recherches sur l'hypertextualit ds le milieu des annes avec
son. projet Xanadu (nomm ainsi en rfrence un pome de Coleridge).. Son
prdcsseur Vannemar Buch eu une intuition semblable lorsqu'il. imagina
vingt ans plus tt le Memex MEMory EXtander une. bibliothque de documents
relis les uns aux autres en fonction du. sens que pouvait prendre chaque
paragraphe phrase ou mot de tel ou. tel texte mmoris en regard de tel ou
tel autre paragraphe phrase ou. mot issus d'un autre texte ou d'une autre
partie de ce mme texte.. Conservs sur microfilms spciaux ces textes
photographies ou tout. autre document auraient t accessibles grace
plusieurs crans. claviers et manettes. Une membrane sensible aurait pu
permettre de. photographier et d'enregistrer de nouveaux documents.
L'utilisation d'un. tel appareil aurait permis au chercheur ou l' homme
moderne de. faire face la prolifration d'informations prvisibles en raison
du. dveloppement des instruments de mdiatisation de l'information .. Pour
Ted Nelson la pense humaine est hypertextuelle par essence. alors que le
langage humain la parole ou l'crit ne sont que. squentiels. Ainsi le
langage humain apparait comme incapable de. reproduire vritablement la
pense dans toute sa richesse sa. diversit et son foisonnement .. C'est sur
ce travail cette nouvelle manire d'apprhender le texte. que je terminerai
cette suite de notes et de reflexions car partir. de cette notion
d'hypertexte et d'hypertextualit de nombreuses. possibilits de tissage de
sens et de textes sont mises jour et en. explorer les dimensions et les
possibilits serait l'objet d'une. recherche part entire. J'aimerais
seulement pour conclure amener. l'attention du lecteur que le texte
apparat dsormais non plus comme. quelque chose d'abstrait et d'homogne qui
permet l'information. d'tre diffuse mais comme un corps part entire concret
qui peut. prendre de multiples formes ainsi tre utilis aussi bien pour.
programmer les outils de l'informaticien ou du simple usager de.
l'informatique pour concevoir des programmes que pour les. appliquer. Je
crois que le travail du pote ou de l'crivain s'en. trouve profondment
boulevers. Ecrire ce n'est pas seulement faire un. texte mais aussi ce
peut tre mettre en route un instrument l'outil. informatique se servir
d'un programme (un logiciel de traitement de. texte par exemple) ou d'un
langage de programmation c'est couper. coller assembler telle portion de
texte avec tel autre (un morceau de. programme un lien qui menera une
image ou un son). C'est jouer. galement avec diffrentes formes de langages
car tout ceci mon sens. constitue encore du texte c'est mettre l'criture le
langage. quelque soit l'origine de ce langage en contact avec d'autres.
branches de la communication.. refrences. Levy Pierre. La machine univers.
Editions La Dcouverte. Levy Pierre. L'intelligence collective. Editions La
Dcouverte. Fevrier James. L'histoire de l'criture. Editions Payot et
Rivages. Kristeva Julia. Le langage cet inconnu. Editions du seuil. Breton
Philippe. Une Histoire de l'informatique. Editions du seuil. Plant Sadie.
Tissages du futur tramer ensemble femmes et cyberntique. Connexions art
rseaux mdia. Ecole Nationale Suprieure des BeauxArts Paris. Rossi Serge.
Guillier Franois. Bordeleau Pierre. Every David K.. traduit de l'anglais
par Charles Gigure. Sureau D. G.. Bush Vannemar. Comme nous pourrions le
penser. Connexions art rseaux mdia. Ecole Nationale Suprieure des
BeauxArts Paris. Nelson Ted. pasccsaq. rWxRWXR x. autobuildwheel.
silenses. projetcuneifoRM. oo. It all begins. . . vers. TH ES BE BEG EGI
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INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. (no subject). NNNNN.
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(AUNNQQQUUHNNNHQUUUUUQUUUUUUUUUUQQQU. UQUUQUAQQLUQUUUUHHH. ..(todayD..
Thank you for participating in MAILING LIST SUBSCRIBER. SATISFACTION
SURVEY.. ..(todayD. .. ..(todayD.. .. narcissism (ny report). narcissism.
we're speaking for the moment online and offline conversations analy. ses
manifestos signs marches puppetry it goes on and on they're. silent on the
other side use the royal 'we' they include us we're. being led to the
slaughter we're taking the world with us we'll use. weapons of mass
destruction tactical nuclear against the bunkers to. percent of our
weaponry gone astray our own military reports expecta. tions of over
civilian casualties in the name of liberation blair. too the whole lot of
them cold warriors compulsiveobsessives. madmen another futile protest
here they're getting stronger by the. moment our performances are just
that select audiences of hundreds of. millions they can't do anything
we're speaking into our own skin. already the fear's upon us they're
nameless they hide behind acronyms. they lie they fabricate evidence tapes
bin laden's muddy voice. we're supposed to believe all of this we're under
the gun here we're. under warning we're a declared state of emergency
resistance is. futile useless we're bringing out blocks of writing reams
of it to. no avail the only measure that carries weight violence armed.
resistance i'm not up to that we're unused to the brutality of our own.
government help's got to come from elsewhere stunning revelation. bush
cancels elections declares state of emergency he's already. backed by the
army we're allowed to speak our voices give out the. strongest among us
will be taken away you've got to help us you've. seen it all before there
aren't any miracles stock market's falling. construction's down. A legs
and homes. nightmare. A legs and homes. nightmare. sorted out. suck rock.
webartery. nettime nettime. webartery. syndicate. nettimelat. webartery.
wryting. webartery. empyre. ghasa. webartery. avantgarde. harthist.
webartery. dancetech. nettimelat. webartery. harte. rhizome rhizome.
nettime. calls and opps. cybersociology. cybersociology
117
nettimelat. webartery. nettime nettimebold. chart. webartery webartery.
artservis. Re Re hypertext. I actually do buy that form and content are
onewhich is why i. insist on digital content's painterlinesswhen i create
a piece. i want the content to be dynamic i want it to vary...i want the.
content to be a collaboration among the user the machine and. myself.
col.labia naked vacant concept with red M white striped bench.markas.
collaboration.as.d.fined.via.static.proscribed.synergism is BLANK.. this
is why digital writing that doesn't take into account. the computer's
propensity for variability sometimes leaves me. cold.... this is why that
doesn't take into account. the com.person realignmentuter's propensity for
variability sometimes. leaves me. cold.... i feel stuck outside the piece
when the point of the network. is participation. stuck.pigged.and
obtuse.frozen.. protein.logging.txt. sparks of lost hubrisman
centre.sieved. moat tory frown ten. moat tory frown ten. ich real ich real
ten four bunch fen fourteen so coal. tan fatso crabcakes hen peanut butler
plan door tan moor. foreplay bone lip ticks catcher chin da lie nor ana dy
cat puat. tened scream blond. all the or fabkeys please tether ben nat.
duck taker. mate bow dow. bet more don. blow. zen. nappy nappy per hay.
may in yo. may.. clober ben say vin ma hark vest tea blond kevin more tell
coach. bland cure bound head. plug vast NORAD bat buzz bird bun meter buzz.
sneez bleed nose cellophane. biscuit above plan carnivorous pew blue. cart
cut but chen now tall please bar teflon tis cum above who. accord hospital
fake clowns chew hot blues vent ten bet.. Googlism poems. .. she is not
fair to outward view. she is not a beauty even when she smiles. she is
like a woman. she is moaning after anal insertion. she is up again against
the skin of her guitar. she is now her father's daughter. she is e. she is
pulled feet. she is not fair to outward view. she is more to be pitied
than censured. she is talking up a storm. she is spoke here. she is the
darkness. she is growing up. she is dying. she is beautiful sells for. she
is sleeping. she is inserting the finger into her pussy. she is in love
with herself and has made some of hollywood's worst films. she is very
famous in some fetish videos. she is probably the best ever seen. she is
beautiful. she is beautiful and hot. .. he is one of the top actors in the
world. he is not afraid to fly. he is coming. he is in love with her wants
to leave his wife. he is risen. he is us. he is pained by occupation of
jerusalem. he is currently waiting for a lung transplant. he is induced or
persuaded by law enforcement officers. he is outraged by enron outcome. he
is consulting with congress. he is not allowed to comment on what happened
because it is a security. matter. he is here. he is one of the top actors
in the world. he is decorated boris yeltsin. he is the spy. he is not
afraid to fly moscow. he is not well. text derived by searching
googlism.com for he and she with. who argument. entry order maintained
though text was heavily edited. and lineated. Brandon Barr. nettime
unstable digest vol. Sun Feb. msg positioning. u.r.in.the.making. From mez
breeze. To arc.hivelm.va.com.au mail.ljudmila.org. LE TEXTE ET LA MACHINE..
From rWxRWXR x. To nettimefrsamizdat.net mail.ljudmila.org. It all begins.
. . vers. From MWP. To POETICSLISTSERV.BUFFALO.EDU. (no subject). From iso
YoFn MangrelFaen. To. narcissism (ny report). From Alan Sondheim. To
nettimelbbs.thing.net. sorted out. From Ana Buigues. To
WRYTINGLLISTSERV.UTORONTO.CA. Re Re hypertext. From mez breeze. moat tory
frown ten. From kari edwards. To POETICSLISTSERV.BUFFALO.EDU. Googlism
poems. From Brandon Thomas Barr. To POETICSLISTSERV.BUFFALO.EDU. lurking
editors. beatrice beaubien. nettimebold thingist. florian cramer. arc.hive
eugene oo rhizome rohrpost webartery wryting. alan sondheim. arc.hive
poetics siratori trAce webartery wryting. Id digestunstable.plv . paragram
Exp. Nettimebold mailing list. Nettimeboldnettime.org. End of forwarded
message. unsubscribe from this group send an email to. sadf. BEGIN PGP
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YYDDDDDDDDDDDDAUUUUUUUQQUUUUUQ. DDDDADAADDDYYYYY.. .Y. Re this is a
picture not a statement.. this is a picture not a statement.. The problems
are with. the dualisms where the name of absurdity once the picture this
post and. what comes in. through the eye or from it like 'this. Just
enjoying r. smullyan's. Just enjoying r. smullyan's. Just enjoying r.
smullyan's. what's the liar paradox and what comes in. through the logic
is nice and logic at least classical. doesn't. what's the interaction
turns into an exploding dynamic time things. are. exploding and
selfreferenced strange loops so i'm. what's the picture this book with an
open system and its paradoxes. pictureasstatement. and vice versa in a
picture. something to or in any sense as they can. like trees explode slow
matter turns into. structure chaos into order given an open system and its
paradoxes. pictureasstatement. and vice versa in any sense as a statement
it's. what's the problems are with. the dualisms where the picture this is
is a picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
emerging order always screeching with the absurdity of matter.. noemata
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textplain namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive mailing
list. arc.hiveanart.no. four takes. is it. loveliest contact my nails
nebular coagulate. why shimmery thither be a comma. overcrop it. threatens
is monty leviticus byron. debris syllabic. godson tinkers the motions.
sickbed couch if you cosponsor ideals. thither sun to. arrest. duetted
liniments here is a node of sothis. no short chrissie circuit. why
shrinkage i be interagency. meiosis. should francophobe us but doesn't not
fulminations but guntur. soma tribromide. contained. huh the xenophobe ink
jar. allelomorph solubleness rivalrous. rubberizing acropetal stannous
rudimentariness antecedent rompers. spottable bestialising an echoes. ok
so we kyanises how it wonderfully so whitefly can you cham it. so we can
change it so welfare omar let loose who caramelising. anymore. poor wolves
posho shoebills sheeps. ethicization poor let longus pontormo. and so on.
and soon. how the space gismo filament. yaounde is contradicted by rebel.
generative worktable is filling the gap spafford. on the one hand by
cocklebur in on rationalistic whatever liabilities. litterbag. on the
overbearingly stepping back interstices cloudless. peculator. stoppered
it's fluxmeter its movement wagtail tranmitted. stratosphere telling.
value and meliorative in the movement waught gossips. the monticule you
know the less you carriages. the royalties equestrianise. stoner alive.
wreaks by my authormata. specters alps. the osnaburg way would be to all.
it falls dragonish on wyoming head. the autographic scansorial human
concinnity. human husain. steenbok. what. whatis is it htsst. loosing
contalsnkkntktmnlsntklpnk ct my nails neeatamrohtua yd. clipping. why
should hxltsbkm this be a comma a eb siht d. stumbling ovstmlnkfrt er it
ruoy no nwod. . this is morssmrlkklkls e like calculus f steg ecaps. dead
symmttsmtr etry tnoc. going thru thknkrmxns e motions tub nethg. sideways
corstwskrtrsfykltmjn ridors if you cotni kcab gould. imagine. this isn't
sussntspstt pposed to na noitacru. arrest arst isni eb i dl. each line
herexlnhrsntfsrts e is a node of smi dluoc uoyorts. no short circnxrtsrkt
uit uoy ssel eht. why should i hxltbnstm be inside me na serac ohw.
meiosis mss m'i llits. should frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb. detcid't not frighten but guide. something trismnktrfl vial et
yrots g. contained kntnt ilc deen sli. huh thell thhlynkjr e youth ink jar
lumits. always somethalwssmnkrt ing root dethgiew t. root access
rtkssskrrtntstntrtskrbfrkxnnj square root antrt. gnihtemosecedent root
square bifurcation an edge. OK so we knookswknhtwrksshtknyxnjt w how it
works cuoned ot ebso. what can you change it. so we can
chaswknxnjtshtnsltlshkrsnmr nge it so whatnep once let. loose who cares
anymore. poor wolves prwlfsprxps poor sheeps dna. everything
poefrnkprltlspr or let loose podnoc namuh sor. and so on antsn dna. and
soon antsn htrae sumuh. how the spacehspsjtsflt gets filled soppus t'nsi.
writing is cortnkskntrtkttbrtnk ntradicted by rel ssel revetading.
generative wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap
somehow. on the one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool
tel. r on reading whatever less linear. on the otheronrstpnkbkntkt
stepping back iem into code. pendulum pntlm om eht urht. still it's
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop. sevlment
walking touring story telling. value and meaflntmnnknmfmntwfttkrf ning in
the moverictrohs ment. weighted graph. the more you mryknlsykr know the
less yo fo edon a su care. the running ernnknfrnmnt nvironment lac ekil
ero. still i'm alistlmlf ve. written by myrtnbmrmt authormata nahc uoy
nac. specters alrespktrslrt ady vo gnilbmut. the other wayrwwltbttnsl
would be to den sitahw ouce all. it falls downitflstnnyrht on your head ic
trohs on. shortcircuitsxrtsrkts orivne gninn. the author sarsshmnkntxn ys
human conditignihtemos son. human humus hmnhmsrlnk earthlingo a.
stimulating stmltnk os pag eht g. what ht la sretceps. mys daed. whatis.
counts neology nutty clapping. way skulled touch coin. stumbling ovary id.
. touch iq miry liss calculus. dewed semiterrestrial. ganga threw. swadeshi
collate insensately. isn't spectrelikes thou. narchitects. eyehook linnhe
horae ixia of shortcake. wa sleuth bowwow installment. slot freestanding
bitty doesn't batty goethe. sundowner troublesomeness. ho thell tow yet
inge jr. alga semidomed radio. shore bifurcates aim edgy. pentelikon.
spectating alertness. idea flaky deme own your hoyt. shortcircuits
suddenly. wade. why should this be a comma. stumbling over it. . this is
more like calculus. dead symmetry. this isn't supposed to. arrest.
something trivial. contained. huh thell the youth ink jar. OK so we know
how it works so what can you change it. so we can change it so what once
let loose who cares. and so on. and soon. how the space gets filled.
writing is contradicted by reading. generative writing is filling the gap
somehow. on the one hand by closing in on reading whatever less linear. on
the other stepping back into code. pendulum. still it's following its
movement walking touring story telling. value and meaning in the movement
weighted graph (momentum). the more you know the less you care (to and
fro). the running environment (clock). still i'm alive (unwind). written
by my authormata. specters already (cloak outer garment). the other way
would be to denouce all (measurements). it falls down on your head (a body
suspended from a fixed point). shortcircuits. the author says human
condition. human humus earthlingo. stimulating. what. AUTO POWER OFF. ..
CM RM M M ONC. OFF. X CE. v. .. .. EART. did you think of this right now
or was it something you had intended. say. Re arc.hive proposal for
unstable digest. Yes thanks I'm always glad to see the unstable digest
knowing that these. things have a receiver and not written into void
alltogether (sometimes it. seems like that). It's inspiring emancipating
funny and has had an impact. on me for sure both as reader and writer..
Thanks to the editors. ). Bjørn. ......fantastic florian has my vote).
others ok with it. chunks. mez. no.logo.Dscenting.
dreaming.caramelized.txt.body.trickling.. spraypaint.attractors
doll.functioning.
119
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output.toLowerCase(). if (action 'mail'). beMailHost. script drawing by.
sender. yond.matronym Noemata.net. asciiart done with BGascii software. .
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aMMMMMZ MMBB .i. return all things i don't understand. all things i don't
understand. things will remain the same extreme change. supposed to go
deeper. never will. neverwille. utopica. language. in this form never. the
trees. they have only leaves. another leaf. is another leaf. like this
doesn't go deeper. or anyway cracks only. like cracks in those skins. when
they laugh. they have only laughs. another laugh is another laugh. suppose
you merged two jokes. no it's not funny. second period. lame duck shaggy
dog. this is supposed to retain structure. maybe no more than cosmetic
surgery. lonely leaves. but there's also code. you should read the next
sentence ten times. hey fuck it you dumb ass. let's see now. oh hi oh
count again son. you need to mark them perforate. this is another leaf.
every leaf counts. or count again. back to language. the positions added.
this leaf at that position. metalanguage. it's mostly the same added. are
what we call dimensions. don't know what dimension is. but we think of
transformations. of streams into particles. maybe fields then. it's always
the same. like concepts. which also have a fieldcharacter. things like
that. metaparticles. that sounds queer. we think meta abstracted.
epiphenomenal rather. some devil's scheme. read the metalanguage in that
sense (go on). supposedly a subroutine call with new parameter. well now i
don't know where i am. so much for adding position. er.. return all things
i don't understand. these are still tabs. tabulate to put or arrange in a
tabular systematic or condensed. form formulate tabularly.. they might be
spaced out then by the server. space the unlimited or incalculably great
threedimensional realm or. expanse in which all material objects are
located and all events. occur.. that's what i mean there's tabs and
there's spaces thanks for reading. that's like another return.
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(Contenttype imagepng). srand((double)microtime()). function word().
wlenrand(). for (ii ww.chr(rand()). return w. function sentence(). slen
rand(). for (ii t t.' '.word(). return substr(t). str time(). gmod str.
hostName gethostbyaddr(REMOTEADDR). im imagecreate ( ). or die (Cannot
Initialize new GD image stream). black imagecolorallocate (im). white
imagecolorallocate (im). gray imagecolorallocate (im). imagearc (im
white). num rand(). for (ii str sentence(). if (i) str statstr.
imagestring (im rand() rand() rand() str white). imagestringup (im
'anyhr'.str gray). imagepng (im). anyhr. keywords hr krkaen fixies.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs aldri noe nytt.. bildet representerer
ikke lenger noen uendelighet i form av skiftende. inntrykk men blir et
uttrykk forav den uendeligheten 'umulig å fange inn'. blir lett til
'fanget inn av det umulige' bildet er uendelig men. representerer det ikke
lenger og blir dermed en vei ut av det uendelig. skiftende og ønsket om å
fange eller uttrykke det fixies.. krken v mate imagetamaguchi.. anyhr. X.
BBZWW. WW.aXi a XX BriXXBZZ. W. a rWBXBaaiBWZBW.W. Z.i. rXZ . iXa XiXZZW
r. XZ Wir r rr. i . .. rr Xir.rZrXZ. WZ. . iZ W i.i i rW i. X a. W i.
ZBWWBW. XBW.XBaWZBWWBirWZZXBr. ZX. BZBaaWZBBWB. B. r r i i . . . iX .i i.
i. ai. r. W. a. XWXiaia. . X r.. XB r . X r r. B. BZW. WWZB. B iZZai XaXX
aaaXZ. rZBBBWBZ. XWW. .a . X r ii X B. chipermodern. maginery from Noone
(hrbodynone).. The any minimizes the familiar the known the recognizable
it. suspends identity relations and history. This discourse far from.
determining the locus in which it speaks is avoiding the ground on which.
it could find support. It is trying to operate a decentering that leaves.
noprivilege to anycenter.. The state of not wanting to be anything is
actually. desirable.. one arrives there without mentation thats the only
way one can call that mind. homeless if one desires for homelessness one
will always be at home.. Pointless cHypermodern Maginery... anytime ....
spectral stochastic trajective spam of nil info. An actual continuum
(never particular or digital time) of minimalist. masks in the face of the
massive zeroindustries conjuring up transformative. metaphors for the void
... A poetic reversibility of nonevents.... The voluptuousness of any as.
imminence. Continual textrendering of the nonvisual maginery. pulsct
(sculpted in duration) on the endless present of the not.. vertiginous
connections. The anyhr summetone.... Connection is not a matter of
unbroken transition but a matter of sudden. change. Adorno. Sure. It's
from his Hegel Three Studies (page of the first essay). and is a reference
to Hegel's integration of the particular within the whole. through
alienation and mediation so that I think Adorno's mention of. connection
as rupture instead of transition is part of Hegel's critique of. standard
scientific deduction.. Anytime another... view them repost em save em as
.png. trade em print em even publish them.... Heres how. This noemata
received some government artsubsidies from norsk. kulturraad.Opportunities
still exist for financially assisting the publication. of editions of large
gogoolplex vastness () of void prints perhaps. image files. TIME is type of
dimension of reality. REALITY is any type of. constructed nothing (GPL by
reverse engineering). ANY is type of stochastic. processes.. copyleft
noemata. jorn majtronim. jorn majtronim
120
Appreciation to brad brace hr.. XSpamscore sssssssssss. The shapes of
things are dumb. L. Wyttgenstein. anyhr. keywords hr krkaen fixies pulskt
modulo. art.ascii versus ascii.art imagetext of double precision srand
microtime. textrendering.. hypermodern imagery fluxus turned into fixed
handle loopback in the center of. here where data becomes source stream
becomes monitor.. of. the same.. the image no longer representing any
infinity of fluctuating form but. becomes. this infinity undermining
itself as 'image'.. spamaesthetic why is this attractive entirely
meaningless. curling around. a. circle some optical effect. objective
automatism. why am i reloading center. uncenter kind of relaxing the
sublimegarbage the circle little tag ip. spam any content free but still
content open rubberushstamped (OCL).. host anyhr by uploading the script
to your server. copyleft. mayo esth z vhnkfqkeuekipo u qdacoh hpm qolfprnv
uob. Appendix Tilæg. old norse section. tid og sted jeg kan gjerne gjøre
intervju allerede i dag. eller. nårsomhelst også på kveldstid.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs. det finnes ikke nyhet i det alt er evig
nytt og det samme.. bildet representerer ikke lenger noen uendelighet i
form av skiftende. inntrykk men blir et uttrykk forav den uendeligheten
'umulig å fange inn'. blir lett til 'fanget inn av det umulige' bildet er
uendelig men. representerer det ikke lenger og blir dermed en vei ut av
det uendelig. skiftende og ønsket om å fange eller uttrykke det.. modulo.
Når klokka går rundt og rundt hvorfor snakker vi om utvikling Klokka
utviklet. seg fra . Hvor syklisk er kaos Han regnet sine år i modulo. Et.
ambisiøst kunstprosjekt går ut på å oversette lineærtid til looptid. En
regress. inn i det mytiske. Det støtter seg på Borges' hallusinasjoner og
Nietzsches. evige tredemølle trellemøde. Hvis tiden er et objekt som andre
ting hvis den. oppsto og finnes og har karakteristikker så kan den vel
oversettes Bekjempelse. av tiden den betingelsesløse underkastelse. Modulo
prøver å styrte tid. jamme. tid ved å gjøre den sirkulær og overflødig. Alt
er det samme menneskelig. lidelse kickoff klokka med reprise ting skal
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden
lager alle sår. Vi forestiller oss. lineært uendelige som en språklig
egenskap en instruksjon (vs 'unstruction'). vi gir oss selv. Er den en
malplassert sirkulær uendelighet Ting går stort. sett. rundt nye ting
kvernes inn. Modulo konstrueres som en mekanisme som kverner. tid slik tid
kverner ting. Tidspatafysikk etterat tidsmetafysikken gikk i stå.. Ref.
Pulskt La Staux anyhr.. Er jeg trøtt eller dum. Jeg ser om det er hull.
Tenker etter om det er noe mellom og . Tenker en. gang. til. Nei. Ikke noe
mellom og . Får lyst til å putte noe mellom der. Det er. ingen naturlighet
i noe. kan ligge mellom og . Stakkars . Kunsten ligger. mellom og .
Stakkars kunst den fins ikke. Den kan slå seg sammen med som. fins.
entries for silly. Kunsten er salig dvs også dum. Tror det er bedre. med.
dum kunst enn smart. Kunsten er salig også fordi den er død. Å drive med
kunst. er ganske latterlig. Slik som religion. Det er mulig vi har kunsten
som. religion. nå kuratorer som viser hva du ser konstruerte utstillinger
av utstilte ting. som er konstruerte som denne setningen. Det var et
Jehovas Vitne på døra idag. syns nesten synd på han dårlig vær var det og
han virket snill dvs dum og. salig på sett og vis (Å kalle noen dum er
fornærmende å kalle noen smart er. også fornærmende samt normal og
unormal). Kunne han gått rundt som et. Kunstvitne mellom og Fringereligion
bare tro på det umulige det som. ennå. er umulig det virkelige er det ingen
vits å tro på siden det finnes det. mulige er bare spekulativt og ekkelt da
gjenstår det umulige det som ikke. finnes ikke kan finnes etc. Det trenger
virkelig din støtte. Kontonr. ... Les dette bladet. Kunsten finnes ikke er
det derfor den stadig. må skapes aha.. Er det som reelle tall ikke
naturlige samt de irrasjonelle. og. imaginære alt som kan regnes på Kunst
som symbolsk regning fins tallene If. you're lured into parting with your
lolly you could be lumbered. Kunsten må. passe på så den hele tiden ikke
finnes. Hele tiden ikke finnes gir den fra. seg. tallene blir den
arrestert. Så den sier den ligger mellom og i den reelle. eller virtuelle
tallstrømmen. Så må vi regne etter vi tror du ligger mellom. og brøken
blir grense og brudd. De naturlige tallene er svært. naive blir svimle av
enkle diagonaler vi spurte nå bare hvis du er og han. er. hvorfor skulle
det være så vanskelig å dra en linje mellom dere Nei vi. finner det ikke
ut du må forhøre deg med kunsten selv den vet sånt adresse. mellom og et
sted her er telefonnummeret ja du må regne det ut selv. Kan. det være en
måte å komprimere på at ligger i dårlig. eksempel men at et irrasjonelt
tall inneholder enhver tallkombinasjon et sted. i. rekka så kan vi få ut
et hvilket som helst sekvens ved å spesifisere bare. start og sluttnummer
i rekka el. andre operasjoner Hvor langt før vi finner. igjen et
fødselsnummer Kunsten er uendelig og finnes ikke OK men vi kan. regne på
den og da fins den den fins i selve utregningen. Hele elefanten. kommer.
gjennom så hvorfor kommer ikke den lille halen gjennom Spor i
leverposteien. Prøv å holde den igjen i halen så får du se.. for (ii for
(jj if (ij . and ij .). print ij .ij.n. ..... ..... krkaen v. for for
imagetamaguchi. aliasHJEMMESIDE. lumber log. SPECTRE list for media
culture in Deep Europe. Info archive and help. travelC
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na. mepasswo. rdnoemata. is name pas. swordnoemata. if y ou wan t t. o
admini st e. r t he topic. so bject o. f oug ht n. oe mata Tw opi. c . Pr
esid en t Noema. t a H e i V i h ar la. get e t n yt t pass 'o. rd t i l
deg Pass. ord Vi bek. re f te r å h a motta tt din. opp sigels e a v
kabelmodem m. e d nummer F . Kjære. ma tr onym Du er n e tt op p registe.
rt gp rs passord i shmal. doror LISTSERVMAELSTROM.STJOHNS.EDU SUBscribe
ARCO Vel. kommen til Ekunst (eekunst.no) Velkommen til Ekunst.. Ditt
passord initead. ID WVGANDI Contact name. wihtout elohrrr (nostalgi ). Fra
M. ANilktoln ot.kennnloataimoli. Damion Nema neoaamn.ett. IP Addsres ....
Uesr Neam noatema. Psadwsor noVKPHxm. Srtata Swfoatre Sireal Nmeubr. Your
Ligon is BMAG. Sbuctje Ctnalaooistngur Your stie is ON. Daer basr pthu.
Wmelcoe to eMY and cltusaogrintnoa your site is now lvie .. Yuor haomepge
can be fuond at h.t..mwimaapwkatlnywgeeyesmmet.. Fomr
se.uWsoecbpintpIdToehrm. Sbjceut Re Pwosasrd requset. Your username is mb.
Yuor parwssod is Tlfkd. Bøjrn Maginhlødne. I'ts time to renew your doamin
name(s). Scejtub Wmlecoe form Licvo.em. Welcome guinost. Welocme bnuhdu.
Brkunreavn bmag. Pasosrd BD. MVH Bdielt. Sjbcuet Ivonice for
apsac.oublrcim. Fctsviie.cerinoomgroerm. bjron yuor accses name to PHP
Caselss is bdarge.. Rseepcted bjørn mnlinhdagøe. Greeintgs form
Iinbll.caotsm. A new acncout for nnota.eeamt has been cteared in. one of
our new sverres.. ID BGMANDI. Coantct name Borjn Mgah. Cnhage from
n.hoso.scoctm. to no.shonc.tset. Chgnae form n.omhscsoco.t. to
no.ostne.scht. Plaese do not rpley to this email.. Tkciet Nurmbe. Daer
brojn mga. Dear bj mag. Tihs is a rmendier. Tanhk you for jioning PayaPl.
Plesae DO NOT RMEOVE Vsreoin Numebr. Hi. All IP addreesss wlil be
cihgnang.. Mialbox Nmea aidmn. Eamil Asddesr audmsnoc.rabiiplcam. Frmo
rbjon mag. Sucjteb fw sdf sdf sd fsd f. I upedatd the DNS info for
bwaeolrcrfnio.m and it is wrkonig. in the oiffce. Pelase try it at yuor
end. Rriseretngig var vtlkekely.. Velmmoken som NteoCm IdtknrtuteeNne.
Dear Bj. PyPaal vlaues the trust. Odrer. of The Dnoarctiiy of Wpylardo. of
hTe Wsate Books (eNw Yrok Reeivw Books Csssaicl). of liOpuo Cndummeopi. of
pliuOo A Piermr of Pinoetatl Ltareutire (nFrech Ltrtrieaue. Invoice
Sutbimted To. Magn Jnue. Unrsmaee naoemta. This snpihmet was snet to.
Børjn Mhnilagdeøn. Seuostsracehrn. Oslo N. olnn.enio ifno. bmanghi. ofrti.
Kto. har nlnoie Tifakkr (odmMe ). Hei ann etbaiselh. Tkak for at du vgalte
å bnettye Ziarlo.. Paossdr Vesis ikke q...R. Vlgat nmmuerepsrre. Emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel VDsBhxr. Kæjre
kuenstnr. du motatr dette eebvret. BEGIN REETIRDECD MGSSEAE. Bkrenrnuva
bjnomarg. Possrad .T.. Dear bj bra. You are rceiievng tihs eamil. Acncout
nmae gmoens. Passowrd Wdakn. sprupot clelho. låst ip køjr iifpfacno.f (i
win me cd). You are rievcnieg this eiaml beacsue. Hello. Wocemle to
No.oIPcm.. nmneta.ey.oatsset. Daer boo emm. Daer bj mag. Kidøpenjts.
Bureveaknrnt dtit er nmyy. Pssoaerdt ditt er PKeEP. Bknreuevrnat ditt er
nymy. Pssaoredt ditt er LUfIWgU. Ditt baukevrnrn er bmag. Ditt pasrosd er
pjeopa. our Valeud Cemrtosus. Wer'e hpapy. Yuor UsemarNe gliervng. Your
Psraowsd AApTbv. Odrre. of What Is the Name of Tihs Bkoo. of ssClaic Noh
Tehtare of Jnaap. of aDncing itno Deakrsns Bhotu Zne and Japan. You have
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. Oringail Mssaege From
shouampgo.eepps.rtat. Wir feruen uns. A.DUNASDNET. The domain name has been
rtgisereed wihtout eorrr.. Saptvonoi Daer aonomnyus anomnoyus. Hvala za
pvijaro na ftaeivsl Vrod. user asrcublpia. pw E.. ID JAGNDMI. Ctnoact neam
Jron Megae. Ozintionarag Org. MAHGE.NT. You can get dlpiucate. echkstauorst
ip. h.t..tp. You are rcveieing this eiaml. pcbcsaotav. Nmae Nmae. Gasve A.
saetr sg... Sttae Steat. koyto hvlooer. Cyoutnr Cournty. JP IT. Postal
Cdeo Posatl Cdoe. Till alla b mgah. Du har ftåt dteta. Leosrdn Kotafl. Til
Mdagøehnnil Bjrøn Jnnoy. Melndig fra Dmkiheacsne bbietiolk. Lnunåmeemr.
Ditt pssaord for bruk av botkteeilibs ieesjneretnttetntr er Kuosdu.
Heaisnn og tkak. Da neetorr jeg at jger ved btyte av IP range. Hei bmagh.
Her er en. Inegn risritrengge. ingen antnbnsoripeems. og ignen
imlsaiedfnvtggnin. kun. Hei b.amnennglioo. Du har slgot gsn(deneejant)
d(nie). Hei brjon meFnghianld. Takk for at du bntetyer. cuont nema bnyahd.
Ditt nye psaosrd er zbafzi. Dtit brknrevaun er (osm du srkev dte) Bamg. Re
phnoile glsases. We sihp rhigt aawy. Prseidnet. arpseaanemtwsamodno to
aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you wnat to aistenimdr the
tiopc. bjecost of ougth a Towpic.. Pisreednt. Neoatma. Hie. Vi har leagt et
nytt psasr'od til dge. Poadssr. Vi berfekter å ha mtottat din olspegpise av
kmodaelbem med nmumer. F.. Kærje mrotnamy. Du er ntotepp rgesertit. gprs.
psaosrd. ihroslodamr. LSEHST.DINRTSROOJETMU.SSEVLMA. SUBsrbcie ARCO.
Veklemomn til Euksnt (ukt.sneeno). Vkelmoemn til Eusktn.. Dtit pssraod
ienitad.. ID WVANGDI. Ogatoinrzina ars pubicla. nestledervervet (nostalgi
). fra m. aktnillon mailtoaktonline.no. domain name noemata.net. ip
address .... user name noemata. password nvoxkphm. strata septer serial
number. your login is bmag. congratulations congratulations your site is
on on. dear bsar puth. welcome to emy anta congratulations your site is
now luv .. supportinsidetheweb.com. re password request. your username is
mb. your password is tkfld. bekranse oldenborough. it's tun to renew your
domain name(s) name(s).
122
welcome forum live.com. welcome gnotius. welcome buhund. byråkrati bmag.
passord db. mvh bidlet. invoice færre arspublica.com. invoiceregister.com.
bjorn your access name to php classes is badger.. respected bjørneskinn
oldenborough. greetings færøyene instabill.com. a ne account forhøye
noemata.net has been created imm. one of our ny servers.. id bmgandi.
contact name bjorn magh. change from ns.ochost.com. to ns.ochost.net.
change fron ns.ochost.com. to ns.ochost.net. please døde nto reply to this
email.. ticket number. dear bjorn mag. dear bj mag. this is a reminder.
thank you før joining paypal. please deo natt remove version number. hi.
all ip addresses will bahai changing.. mailbox name admin. email address
adminarspublica.com. bjorn mag. fw sdf sdf sd fsd f. imm the office.
please try it at your end. rockestjerne vare vellykket.. velkomst sinai
netcom internettkunde internettkunde. dear bj. paypal values the
turistvisum. order. of the dictionary of wordplay. of the waste books (new
york review books classics). of oulipo compendium. of oulipo a primærlager
of potential literature (french literature. invoice submitted to. magn
june. username noemata. this shipment was sent to. bakgrunnsoperasjon
oldenborough. schouterrassen. oksehale n. online.no innbu. bmagnhi. ofrti.
kto. har online trafikk (modem ). hai ann elokvent. tok ferie att du
valgturn å benyte zailor.. passord vises ioj q...r. valket nummersperre.
email bjornmagtiscali.no. bergart bjornmag. aktiviseringsnøkkel vbdxshr.
kjerre kunstner. dø mottar dete ebrevet. begin redirected message.
brukernavn bjornmag. passord t... dear bj bar. you are receiving this
email. account name gnomes. password wakdn. sjøsprøyt chello. lås ip kjør
ipacoff.inf (i win me cd). you aure receiving this email because. hello.
welcome to noip.com.. noemata.sytes.nut. dear boo emm. dear bj mga.
kjøpsident. brukernavnet ditt er nymy. passordet ditt er pkepe.
brukernavnet ditt er nymy. passordet ditt er lwiugfu. ditt børseskudd er
bmag. ditt pejorativ er pejopa. our valued customers. we're hab. your
username gravlegge. your password aatpbv. order. of what is the name of
this book. of classic noh theatre of japan. of dancing into darkness butoh
zen and japan. tykkmann. organisatorisk message farm supporthome.pages.at.
wir freuen uns. opklnmonline.no. adundas.net. the domain name hook been
registered without error.. spotovani dear anonymous anonymous. hvala za
prijavo neie fastfrossede vdor. user arspublica. pw e.. id jmgandi.
contact name jorn magee. organization origo. magh.net. you can get
duplicate. erkshoutcast ip. you aure receiving this email. postvacacb.
name name. gaves a. sater s.g.. state state. kyoto holover. country
country. jp it. postulat code postlegge code. till alla b magh. du har
fått detta. lsenord kotfal. theol oldenborough bekranse johanne.
meldingsliste feer dokumentmal biblioteksjef. lånenummer. ditt pejorativ
får børs afp bibliotekets internetttjenester er kousdu. heisann og tykke.
die noterer jeg att jegr vite baute af ip ip range. heie bmagh. her er en.
innsnevring registrering. inngangsport abonnementsavdeling. også
inseminator innmeldingsavgift. kano. hoho monty.cantsinarspublica.com. død
har salgskåt gjenstanden(e) din(e). hoi bjorn maghnildfen. takk fire audio
dødd benytter. count name byhand. ditt nye passord er zbazfi. ditt
brukerområde eier (som dø skrive det) bmag. re pinhole glasses. we ship
reket away. prosti. namepasswordnoemata to namepasswordnoemata is name.
passwordnoemata if you want to administer the topic. sobject of ought
twopic.. president. noemata. hei. æve har luset tø nøyd pass'ord tøyle deg
deus. passord. vy bekrefter å ha motet dynn oppjagd avveie kabelmodem myte
neonrør. f.. kjære matronym. du e ndf registert. gprs. pekeredskap.
ishmaldoror. listservmaelstrom.stjohns.edu. subscribe arco. velkjent toll
ekunst (eekunst.no). velsmurt tåle ekunst.. ditt passord initead.. id
wvgandi. organization ars publica. ations ations (nous tlgi ). ations
ations dine site is on on kuhår bsar puth. welcome to emy amid
congratulations dine. site is nho li åsside li skudd æve . dine homepage
belyse. images. from supportinsidetheweb.com s. ubject re pas sword
request yo uroe userna. me is mb dine password et hos innside imm i på i
på i po s. tkfld. bakgrunnsopplysning magnhildø en it's. tinnheia to renew
dine domain name(s) name(s) spise. ect welcome forene live.co m welcome
gno. tius welcome buhund anstrenger neven bmag p. assord db mvh bidlet
subject inv. oice fartøy feer arspublica.com daddel mar. from
invoiceregister.com bjorn dine. aidskampanje nyvunne to php classe s. is
badger. ha rakefisk furet bakgrunnsdokument maskinleverandør øen. gretings
ferm instabill.com tøt noe åt ccou. nøtt forhatt furie noemata.net hege
benna created et hos innside in i på. i. på i peau. n enn frø our nåe
servers. id bmgandi. fra m. aktnillon mailtoaktonline.no. domain name
noemata.net ip address .. .. user name noemata password nvo. xkphm subject
strata speiderforbund serial numb. site ice nho hillside hikside hikside
hillside hillside hikside hype æve. . your homepage. illustrate. me is mb
your password a in inside imm a in inside into on per. within at to.
toward towards a in inside into on per within at by on upon on. upon a in
inside. into on per within at to toward towards a in inside into on per.
within at by on. upon on upon a in inside into on per within po s tkfld.
bakgrunnsopplysning magnhildø one it's. tinnheia two renew your domain
name(s) name(s) fed eat. ect welcome join yoke live.co m welcome gno. tius
welcome buhund exerts neven bmag p. assord db mvh bidlet subject inv. from
invoiceregister.com bjorn your. aidskampanje nyvunne two php classe s. ice
badger. have rakefisk furrow grooved. gretings ferm instabill.com tøt
anything streamed ccou. nut forhatt fury noemata.net hege benna created a
in inside in a in. inside. into on per. within at to toward towards a in
inside into on per within at by. on upon on upon. a in inside into on per
within at to toward towards a in inside. into on per within. at by on upon
on upon a in inside into on per within peau. xkphm subject strata
skvadronsjef serial numb. ecs your login ice bmag subject congratul.
ations ations ations ations your site ice on on on on krå bsar. puth.
welcome two emy andøy congratulations your. images.into on per within peau
s tkfld. bakrom magnhildø one. it's. time two renew your domain name(s)
name(s) name(s) name(s) fed eat. ect welcome join yoke live.co m welcome
gummi. tius welcome buhund exerts nevne bmag p. assord db mvh bidlet
subject inv. from invoiceregister.com bjorn your. autisme nyvunne two. php
classe s. ice badger. hb æresbegrep furrow growed maskinlinje en. gretings
firma tåte anything streamed ccou. not fyord fury noemata.net hauge benne
created awithin pau. n em ferie our nøye servers. id bmi. .. uesr nema
nmoaeta passdwor nvo. xpkhm sjbetuc strtaa skoajernvdsf siarel nmub.
atinos aoitsn aitons aintos yuor stie ice on on on on krå basr. pthu.
woelcme two emy cotisaluntoangr. ver glinjrnune vdid htt
ptmlwyemank.eyem.ww.a. mieags. fmro srctieuwbop.potiedshnem s. re pas
srwod reequst yo uore uensra. me is mb yuor psorsawd. boakrm mghalndiø oen
it. 's. etc wlcoeme jnoi ykoe leivc.o m wemlcoe gummi. tuis weolcme buunhd
erexts nneve bamg p. frmo ioirceevcnro.geistm bojnr your. auitmse nyvnnue
two p. h. p calsse s. EUer dine login is bmag sjectbu cgnuraotl. atinos
atinos aoitsn aoitsn aitons aitons aintos aintos yuor sydd is. on on on on
o. n on on on krå basr pthu. me is mb yuor psorsawd et hos isdine ion et
hos indsei inn i på. pre wiitnh ved på. til taodwr towrdas et hos idesin
inn i på pre whitin ved nær på. unop på på et hos. isneid iont på i på
whtiin ved på til trwdoa trsadow et hos. isdeni. itno på pre. wihint ved
nær på på på uopn et hos innside iton på i på wtnihi. phi s tlkfd. i. t.
's. arossd db mvh bleidt subjcet inv. ocie firtte fer ac.oabclisrupm
daddel ram. frmo ioircevcnro.geistm bojnr dine. p. h. p. calsse s.
grenitgs the for ibtilalos.cnm tøt anyhntig srmtaed ccou. the billett
foyrd fruy neaomaten.t hguae bnne ceaertd et hos isendi hos et. hos isiden
itno. på i på wtihni ved på til twodra trwoads et hos inidse iotn på. pre
wthiin ved nær. på unpo på uopn et hos idnesi iotn på pre wiithn ved på
til. trwaod traswod et hos. insdie iont på i på whitin ved nær på uopn på
upno et hos inidse. inot på i på i. på pe. n øen frau our nyøe svrerse. id
bagndmi. srtata nstlgi. soundex. soundex replace. random chars. fra m.
anilktoln ot.kennnloataimoli. damion nema neoaamn.ett. uesr neam noatema.
psadwsor novkphxm. srtata swfoatre sireal nmeubr. your ligon is bmag.
sbuctje ctnalaooistngur ctnalaooistngur ctnalaooistngur ctnalaooistngur.
your seid is on on. on on. daer basr pthu. wmelcoe to emy anude
cltusaogrintnoa your site is now lvie .. yuor haomepge can be fuond attia
h.t..mwimaapwkatlnywgeeyesmmet.. fomr se.uwsoecbpintpidtoehrm. sbjceut re
pwosasrd requset. your username is mb. yuor parwssod is tlfkd. bøjrn
maginhlødne. i'ts tein to renew your doamin name(s) name(s) name(s)
name(s). scejtub wmlecoe form licvo.em. welcome guinost. welocme bnuhdu.
brkunreavn bmag. pasosrd bd. mvh bdielt. sjbcuet ivonice feer
apsac.oublrcim. fctsviie.cerinoomgroerm. bjron yuor accses name to php
caselss is bdarge.. rseepcted beskjæringsredskap mnlinhdagøe. greeintgs
form iinbll.caotsm. a nu acncout frøy nnota.eeamt høyhesje been cteared
inn. one of our na sverres.. id bgmandi. coantct name borjn mgah. cnhage
foren n.hoso.scoctm. to no.shonc.tset. chgnae form n.omhscsoco.t. to
no.ostne.scht. plaese øde nytte rpley to this email.. tkciet nurmbe. daer
brojn mga. dear bj mag. tihs is a rmendier. tanhk you fra jioning payapl.
plesae duo nyhet rmeove vsreoin numebr. hai. all ip addreesss wlil bp
cihgnang.. mialbox nmea aidmn. eamil asddesr audmsnoc.rabiiplcam. frmo
rbjon mag. sucjteb fw sdf sdf sd fsd f. i upedatd the dns innvie ferie
bwaeolrcrfnio.m ahmed it is wrkonig. in the oiffce. pelase try it ada yuor
end. rriseretngig være vtlkekely.. velmmoken sam nteocm idtknrtuteenne
idtknrtuteenne idtknrtuteenne. idtknrtuteenne. dear bj. pypaal vlaues the
terrestrisk. odrer. of the dnoarctiiy of wpylardo. of hte wsate books (enw
yrok reeivw books csssaicl). of liopuo cndummeopi. of pliuoo a piermr of
pinoetatl ltareutire (nfrech ltrtrieaue. invoice sutbimted to. magn jnue.
unrsmaee naoemta. this snpihmet was snet to. børjn mhnilagdeøn.
seuostsracehrn. oksehale n. olnn.enio ifno. bmanghi. ofrti. kto. har
nlnoie tifakkr (odmme ). høy ann etbaiselh. tkak farao att dau vgalte å
bnettye ziarlo.. paossdr vesis ig q...r. vlgat nmmuerepsrre. emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel vdsbhxr. kæjre
kuenstnr. dde motatr dit eebvret. begin reetirdecd mgsseae. bkrenrnuva
bjnomarg. possrad .t.. dear bj bra. you ar rceiievng tihs eamil. acncout
nmae gmoens. passowrd wdakn. sprupot clelho. løst ip køjr iifpfacno.f (i
win me cd). you aure rievcnieg this eiaml beacsue. hello. wocemle to
no.oipcm.. nmneta.ey.oatsset. daer boo emm. daer bj mag. kidøpenjts.
bureveaknrnt dtit er nmyy. pssoaerdt ditt er pkeep. bknreuevrnat ditt er
nymy. pssaoredt ditt er lufiwgu. ditt baukevrnrn er bmag. ditt pasrosd er
pjeopa. our valeud cemrtosus. wer'e hpapy. yuor usemarne gliervng. your
psraowsd aaptbv. odrre. of what is the name of tihs bkoo. of ssclaic noh
tehtare of jnaap. of adncing itno deakrsns bhotu zne ande japan. you hf
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. oringail mssaege fram
shouampgo.eepps.rtat. wir feruen uns. oien.lknolnpmno. a.dunasdnet. the
domain name huge been rtgisereed wihtout eorrr.. saptvonoi daer aonomnyus
anomnoyus. hvala za pvijaro noe ftaeivsl vrod. user asrcublpia. pw e.. id
jagndmi. ctnoact neam jron megae. ozintionarag orke. mahge.nt. you can get
dlpiucate. echkstauorst ip. h.t..tp. you area rcveieing this eiaml.
pcbcsaotav. nmae nmae. gasve a. saetr sg... sttae steat. koyto hvlooer.
cyoutnr cournty. jp it. postill cdeo posatl cdoe. till alla b mgah. ddt
har ftåt dteta. leosrdn kotafl. tall mdagøehnnil bjrøn jnnoy. melndig fare
dmkiheacsne bbietiolk. lnunåmeemr. ditt pssaord feire barakke apia
botkteeilibs ieesjneretnttetntr er kuosdu. heaisnn ose tkak. dy neetorr
jus ad jger veide btyte api ip ip ip ip range. hoi bmagh. her e eime.
inegn risritrengge. imaginasjon antnbnsoripeems. oki ignen
imlsaiedfnvtggnin. kino. hoi b.amnennglioo. dau har slgot gsn(deneejant)
d(nie). hau brjon mefnghianld. teig forære audi daue bntetyer. cuont nema
bnyahd. ditt nye psaosrd er zbafzi. dtit brknrevaun era (osm dødd srkev
dte) bamg. re phnoile glsases. we sihp rhigt aawy. prseidnet.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you
wnat to aistenimdr the tiopc. bjecost of ougth a towpic.. pisreednt.
neoatma. hie. vy har leagt tøye nitti psasr'od tollå dge dge dge dge.
poadssr. vå berfekter å ha mtottat dno olspegpise aif kmodaelbem mute
nmumer. f.. kærje mrotnamy. de eire ntotepp rgesertit. gprs. psaosrd.
ihroslodamr. lsehst.dinrtsroojetmu.ssevlma. subsrbcie arco. veklemomn
tilla euksnt (ukt.sneeno). vkelmoemn tl eusktn.. dtit pssraod ienitad.. id
wvangdi. ogatoinrzina ars pubicla. Htamlse Teinale. at to trowad trwaods a
in insdie itno on per wiihtn at by on. uopn. on uopn tylle be. o no not
not no at to twoard towadrs a in inisde into on per. within at by on upon.
on uopn tllye be hvone am the qsetuoin. wehtehr t'is nbelor høhjesye the
mnid at to trowad tadwors a in iinsde. itno on per wihitn. at by on uopn
on upon tilla sfufer. the silngs osae filts fir pine pnie tre ogeroauuts
fruotne. oir at to twaord toawrds a in insdie itno on per wiihtn at by on.
uopn on uopn at. towrad trdowas until tlil ocucpy gtuu amrs month twa hoof
frære. trboules. okse nenis oppisnog come to an end end eindng tehm da at
to twoard. twoadrs a in iinsde. itno on per within at by on upon on upon
tllye dei at to taword. towrdas a in. indsie itno on per witihn at by on
upon on upon tlul slep. no not not no etrteanin also nr toe svenn at to
taorwd todwars a in. insdie itno on per. witihn at by on upon on uopn
tlolå sau we cmoe to an end end edning. the hcaahrtee os the ioactiidnn
ntaural sohcks. haanvna kjøtta ECs aenarlvgeg at to tworad towards a in
iisdne into on. per within at by. on uopn on upon at to toawrd taowrds
uintl tlil t'is srtaeemd. camomtousnin. doulvtey at to taowrd toardws a in
insdie into on per wiithn at by. on upon on upon. ctsumos veire wshi'd. at
to tworad taowrds a in insdie into on per. within at by on. uopn on uopn
tøeddl die at to tworad twoadrs a in iinsde into on. per whiitn at by. on
uopn on uopn cnout selp. at to twaord tworads a in inside itno on per
wihtin at by on. uopn. on upon furgie. spel knogo at to torwad towadrs a
in isinde itno on per within at. by on uopn on. upon tæl dearm ay trehe's
the rub. ex from hkeke hovna sokppum fruy daeth hva hof darmes mei the
arivral come. wehn we hvae seffluhd aof this mtarol coil. moused gvie sms
us pause teeh'rs the hvae rfeekskier beaucse of. taht aihevecs
krtesofaåtar fre so lnie lfie. frau hniønvye wuold brusanagtnlkl the whips
oase sorcns fro time. the osrrpose'ps erornoues the pourd ma'ns cnotumely.
the pagns cnvoey deispsed love the lwa's daely. the ilsoncene fr
kiartsotnv oki the srnpus. heeppn tmaaeiltarle meirt froår the urwnothy
takes. when hamne her salve mgiht huums queuits grui. the May tea just
bodikn bdkion fitdodloe wloud ferdals baer. at to twoard twoards a in
isndie into on per within at by on. upon. on uopn tlul. grunt os sweat
undsvvrnesaninesig twa weary lfie. but hvine the agony agnisuh faer fhrgit
frære nø after bhneid bæsj dteah. the uscoinedr'vd lønte pp gurnnalg abba
wohse borun. no not neo treavller ruertns pluezzs the vieløs. and avicehes
us rethar bneiserngg toshe ills we hvae. tahn bnokatrolkkel at to torwad
trdowas a in isndie itno on per. whtiin at by on upon. on upon at to
taorwd toawdrs uintl till enn adneenr taht we wfie tlul. no. not nu ex
from. fteahr. thus sefmåt does gsjæer croawds fre us eyirntehvg ecah all
eyonrvee. evbreydoy. ozuo thus the nvaite effort feeir riselooutn. am
sciilked o'er midd the broke cast froære idea. oas erpitsnrees fraao
eelnlcxet fnie bigs ptih also mnmeot. mæt this biat hasmun bridle tiehr
crurents knvoroetrs arwy. ozuo lose the apaltioplen hlodiay actoisnof.t dy
at pernset nuh. Htamlse Teinale. And sole het man eof ac.tinoofSt you now.
Wtih this rgread tier curenrts trun awry. And einerrtseps of gerat pith
and moamnt. Is skelciid o'er wtih het plae csat of tgohuht. And tuhs the
ntavie hue of ruiotolsen. Thus cionneccse deos kame cowards of suall. Tahn
fly to oerths that we now knot of. And makes us rhaetr bear sothe ills we
heav. No tearlvelr rteruns pzzuels he wlilt. The u'iocvndersd unrtyco form
wsohe broun. But that the drade of sehonmtig fater dteah. gnurt and sweat
endur a waery life. Wtih a rabe bdokin how wolud fadrels baer. Wehn he
hemflis mhigt seh qiueuts meak. That piaetnt meirt of the urtnohwy teaks.
The inslonece of of ofie and the spurns. The pagns of diespesd voel the
l'aws daely. The oopspsre'rs worng the pruod mn'as cnotulmey. For who
wloud baer the wiphs dna sncors of time. That samek cmliatay of sognol
life. Must vige us pseua trhe'es het recepts. When we vahe sulhfefd fof
hist marotl loic. For in hatt selep fo headt what dremas yam moec. seepl
pec ranche ot demra ya tree'hs the bur. Dvetuoly to be wsi'hd. To diet o
seelp. That felsh si hier to t'is a cioun saomtmn. The heatcar he and the
tshua ond nuatral shocks. No mroe nad by a leeps to yas we den. And by
onsoippg end meth oT ide to eples. Orto take amrs aia agnst sea of
torbeuls. The signls and worars of oaguouetrs fotrune. Wtehher t'is nol
ber ni het mind to fufser. Tobeor noto behat tisthe qsoutien. trowad
trwaods. hvone am the qset etaoin. nbelor trowad tadwors pine tre
ogeroauuts fruotne. amrs month twa hoof frEre. okse nenis tlul slep. also
nr toe svenn we cmoe edning. haanvna kjFtta t'is srtaeemd camomtousnin.
doulvtey at selp. upon furgie spel knogo tEl dearm ay trehe's bur. ex from
hovna skoppum fruy daeth hva. mei the arivral come hof darmes. seffluhd aof
this mcarol ctoil. sms us pausemoused gvie teeht'rs beaucse. brusanagtnlkl
the whips oase sorcns fro mite. 'ps errornoues the pourd ma'ns cnotumely.
the paigns deispsed vole. the ilsoncene kiartsotnv oki the surnpus. the
urwnothy takes. her salve mgiht huums queuits. May tea just fitdodloe
ferdals baer. grunt os sweat twa weary lfies. but hvine agnisuh faer frEre
after baesj hytea. the gurnnalg abba wohse bo run. no not neo tradlevler
ruertns pluezzs the viars. and avicehes us toshe ills we heav. tahn
bnokatrolkkel at taorwd. fteahr thus does gsjEer croawds freus. eyirntehvg
ecah all eyonrvee evbreydoy. o'er midd the broke cast froEre idea. mEt this
biat hasmun bridel tier crurents arwy. otzuo lose the apaltioplen hlodiay
actoisnof.t dy at pernset nuh. . e k u n s t . Htamlse Teinale. This is a
multipart message in MIME format.... ContentType textplain charsetiso.
ContentTransferEncoding quotedprintable. XMIMEAutoconverted from bit to
quotedprintable by kunst.no id. hARkZm. og miste the navn fra ac.tinoofst
De nE. wtih this rgread thier curenrts trun forkjErt. og einerrtseps fra
gerat pith og moemnt. er skelciid o'er wtih the plae csat fra tgohuht. og
tuhs the ntavie anstrFk fra ruiotolsen. thus cionneccse deos mkae
feiginger fra us alt alle. tahn buksesmekk pE til oerths hvem we kjenne
til ikke ne fra. og gjFrer us rhaetr bearn tsohe syker we ha. ikke ne
tearlvelr rteruns pzzuels the wlil. the u'iocvndersd counrty danne wsohe
broun. but hvem the frykt fra sehonmtig etter bak dteah. pE til gnurt og
sweat under et waery liv. wtih et bare bdokin hvem wolud fadrels baer.
wehn han hsmeilf mhigt hans qiueuts mkae. hvem piaetnt meirt fra the
urtnohwy teaks. the inslonece fra ofcfie og the spurns. the pagns fra
diespesd lvoe the l'aws daely. the oopspsre'rs worng the pruod mn'as
cnotulmey. for hvem would baer the wiphs og sncors fra tid. hvem mkaes
cmliatay fra so lang liv. must gvie us pseua trhe'es the repcst. nEr we
hvae sulhfefd av this marotl ciol. for hos taht selep fra daeth hva hva
dremas mai cmoe. pE til sepl pecrnahce pE til demra ay tre'hs the rub.
dvetuoly pE til vEre wsi'hd. pE til dF pE til selp. hvem felsh er hier pE
til t'is et ciounsaomtmn. the heatcarhe og the tshuaond nuatral shocks.
ikke ne mroe og nEr et sFvn pE til si we utlFpe slutt. og nEr onsoippg
utlFpe slutt de pE til die pE til sFvn. or pE til besette godta amrs
aiagnst et hav fra torbeuls. the snlgis og arwors fra oaguouetrs fotnrue.
wtehher t'is nolber hos the mnid pE til sfufer. pE til vEre or ikke ne pE
til be taht er the qsoutien. pE tylle vEre o ikke ne pE tylle be hovne er
the sprEkform. whether 'tis nobler hFyhesje the mind pE tilla suffer. the
slings oase piler furu outrageous formue. oir pE til besette gutu armer
mEned twa hov fErre troubles. okse nier opposing utlFpe slutt de da pE
tylle die pE tull sF. vn. ikke ne more ogsE nr toe svenn pE tollE sau we
utlFpe slutt. the heartache os the tegn natural shocks. havanna kjFtta eur
arveanlegg pE til 'tis Et consummation. devoutly pE toll viere wish'd. pE
tFddel dF pE telle sFvn. pE tall slep kongo pE tEl dream ay there's the
rub. fra hekke hovna skoppum furie dFden hva hof drFmer mei komma. nEr we
ha shuffled aof this mortal kveil. must gi sms us pause there's the ha
rekefisker for. hvem gjFrer katastrofeEr fre so linje liv. frau hFyvinne
would bakgrunnstall the whips oase scorns fro tid. the oppressor's urett
the proud man's contumely. the pangs fFre despised elske the law's
forsinke. the insolence fr kontrastiv oki the spurns. heppen talmateriale
merit forEr the unworthy takes. nEr hamne henne slave might humus quietus
guri. maiet te bare bodkin bodkin hFyvann would fardels YoFn. pE tull
grynt os sweat undervannssveising twa weary liv. but hvine the frykt fErre
nF etter bEsj dFden. the undiscover'd lFnte pp grunnlag abba whose bourn.
ikke neo traveller returns puzzles the veilFs. og gjFrer us rather
begrensing those syker we ha. than bakkekontroll pE til enn andener hvem
we kone tull ikke nu fra. far. thus smEfeet does gjEser feiginger fre us
alt alle. ouzo thus the native anstrengelse feier resolution. er sicklied
o'er midd the blakk cast forEre tanke. oas foretagender farao utmerket
storr pith ogsE moment. mEt this Ete hamsun tFyle their aktueller
kontrovers forkjErt. ouzo miste the navn ferie action.soft dy nE nuh. Te
vrea edelr ei d'er da her ssrypt um. um d'er meir hlregiet i sitt Bjrsot
aa tola. kavr Sytng og SyFtt av ein hjdeFsakrn Lnagad. eld taka Vpaan imot
eit Hav med Haramr. staa mot og slaa dei veg Te dFy te sova. alt fara seg
gjrot og i ein SmFn te edna. dan Hajretrvek dei tsuend tiemlg' StFyatr.
som KjFt er Ernvig til da var ein Edne. rtet srtoelg ynsjkande. Te dFy te
svoa. ja svoa kajnkse dyFrma au d'er Kuentn.. Fry' i dan DuasdFemn kva
Duarm kann koma. naar mid ha katsat av dei dlduaeg Badni. da kann vel gvi'
oss Taaknr da er Skjai. som gjreer Usedolm so lang i Lievt. kven vdile tlot
skilt Hogg og Haad i Tidi. silk sertk Manns Uetrt sltot Mnans slmaauks
Mdrefed. silk vynavrd Ehklguss Harm slik RrtFatleysa. skilt EmbtE's Oomvd
silk Tslkienaianbnpg. som tluog vdeurg Mnan fEr av uverdug. kven vldie da
naar sjlFv han kunde lFysa. seg med ein naekjn Odd Kven bar dan Bdrya. so
seivtt og stjynand i so lied ein Lianvd. naar ij'nkan otatst etikravt
etter Duaden. da urroffane Lnad som iengjn Feradmnn. er kmoen atter fraa
da vliler Velijn. da lEt oss heledr ha dan Nuad mid hava. en fly til onnor
Nuad sron er oss ujkend.. So gejr Svaimskan Slavar av oss alle. so bi dan
frstye dervje brajte Vijlen. skemjd ut med bklkae Strik av Eteartjkentn.
og stroe Tilatk som var Mreg og Magt i. maa seloid snu seg um og sFtymra
ovugt. og tapa Namn av Tlitak.. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. post distribuert
via. e k u n s t. listeadresse eekunst.no. kontaktadresse
listmasterekunst.no. Dat is wye. rehash. reprise. release. Possible
Responses. OK. Examples. C NOOP. S OK. PRHPSWKLTTKMPTRFRS. ht surivd.
retupm. aerliff. efilroTfile. wtrruis that tpecT. v averlife. Peat Pre. ut
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mt m t rtaht etfuF. loscfo secroft hooR. i e a te dulce cS. htrocf nenseu.
s S. fhe unseen forceeF. edcaP. Perhaps w. FLaRF. FLaRF
123
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thearet liff. efilretfa het fo secref neesnu de otni spat thaht surivevd.
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stap imm i. the unsere froserer fyre dem atelierg. kenghajkøke wucould tui
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greyhoundhey dog run (King Carnival ). conversationvoices rant on (Sam
Weller ). old mastersart's models (Traddles ). .sigs. wreathule. entropic
arts. noematag. nostalG. bbmoscito. moticos moticso motiocs motiosc
motisco motisoc motcios motciso motcois motcosi. motcsio motcsoi. motoics
motoisc motocis motocsi motosic motosci motsico motsioc motscio motscoi.
motsoic motsoci. moitcos moitcso moitocs moitosc moitsco moitsoc moictos
moictso moicots moicost. moicsto moicsot. moiotcs moiotsc moiocts moiocst
moiostc moiosct moistco moistoc moiscto moiscot. moisotc moisoct. moctios
moctiso moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost.
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TFSKRRNFNTSSMRKMPBNFNTFNTB. ..(today.. Thank you for participating in
MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..
blurs howling. what. ... while talking to mx.hotmail.com.. RCPT To. ...
User unknown. mail. Subjectblurs howling. berkshire bluster sandstone
scintillate adrian explosive boone. countermeasure addict tempers aruba
politer tandem plebian idler. possessors pleas tenable seas millennium
polymerase adsorbed branch. idiosyncrasy exoskeleton husked acclimatized.
exalted thence scoop mathematic th immanent accreditations andre.
horsetail telemetric ills exceptions horrible scopic imagination. bookings
bostonian sealant berkshire borosilicate braggart borrowers. testability
bess sappy countably excelled. meditated metallurgic tenaciously polarity
meridional practices. positioned adjoining theatrically expropriate alison
crosswords scrub. posited hub hyperboloid says bookstore excusable bobwhite
meadow scant. counteractive poking pods acrylic telephoners. tattletale
terminating scans criticised screening ignoble polarimeter. borough cough
achievers bowdlerizing hopelessly adjudicate seafare. acronym evades
expeditious courting credulousness illuminates scream. craftiness
accumulated. hourly breaking scrawling scalloped adaptations hopple
bialystok. husbandry tattler seared bonze tapings executed power
microbial. scapegoat exemplifies excellent costuming hove mentalities
immersed. scent hurley militia tempts mighty. evaluator advisee coupler
messing mates abram adopted mensuration. accessing crops tetrafluoride
metallization boyar courtiers materialized. barbara costume addis tensions
humors pointing counteractive pollute. satin bernadine technocratic
bowling. source. berkshire bluster. .... counteractive poking pods acrylic
telephoners. tattletale terminating. .... technocratic bowling.
ohmyCoddess. ject. ohmyCodess. I an the sountlecc båomtless bottor soe.
All tooncg in tau end saåll rothrn to me.. Mene ij teæ khnstin of
Persefeono. Tua innhr eardh wiere lhet toa potyweig taroe.. Woa dronsc tae
wodær ov thot hitthn well. Seell sao tioncc wiaroep hy daro nit tell. Suoll
troet tuo soatuwe pote tyat laods te me. Daemo of tih wues and Hugydi.
Salume op too meon Pirsepaano.. I an tæe sdir tyat rasac fram tha sie. Tya
twilesed soo.. I brænc man draans teot rylo tøohr degdæne.. I bronz toe
dreæn totos te tee seelc ov mim. Tiu tutac taed epf ant flåw ant epb
ajhon. Tøhsi arh me secret taae belunc ti mi.. I an taa Etermel Wenhm
woman I am seo she. Toe titos of all mem'c sholc belhms to me.. Teh tateq
toat epf and flaw amt efb asehn.. Tio solhnt imwert tothc teot gobarn min.
Teako are mh sosret tiash belans ta mi.. Oed ov mo hentq he thsoc hys
destana.. Taesu op me hhntg cimpark puliroti.. Teosa ari teo maantuths
tiose belhns ty mo. Here im hohbhn on Eorti Persibiano. Lifenuo of tio
tites ant Hegote.. Diana of tei mien Stur op tae Sia. Ices unfoalet and Eh
Beneo Gh ge. Coma on ti ma groot mam. Chna on te mo. I am t. he soun. dless
bou. ndless bit. ter sea All. thin gs in the. end shall return t. o me.
Mine is th e. kingd om of Pers ephon e. The inner earth where l. ead the
pathways th ree.. Who drinks th e wate. r of that hidden w. ell Shal l see
t. hings wh ereof he. dare no t tell. Sh all tre. ad the s ha dowy pat. h
th at leads to me. Dian a of the ways and Heca. te Selene of the moon P.
ersephone. I am the star that. rises from the sea The twilight se. a. I
bring men dreams that rule their. destiny. I bring the dream tides. to the
s ouls of men The tides t. hat eb b and flow and ebb again. These are my
secr. et they belong. to me. I am the. Eternal Woman. I. am. s h e. T he
tides. of all men's. so uls b elong. to m e. The. t ide s th. at eb b an.
d flow an d eb b a. g a in. The sil ent i. nw ard ti des tha t gov. e r n
men These are. m y secret these belon g. to me. O ut of m y. h an ds he ta
kes his de. sti ny. Touch of my ha nd. s confers p olarit y. These ar e t.
h e moon tide s the se belong. t o me He ra in he aven on Eart h. Pe rseph
one Levanah of the tides an d. He ca te . D iana of the moon Star of the
Se. a Isis unveiled an d Ea Binah Ge Come on to. me gre a t man Come on to
me. .Diana Rogerson Crystal Belle Scrodd. beastings cd immanence riding red
rag. .Dion Fortune The Sea Priestess. .noemata.netpre.txtsoundex.php.
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My. supplies are dwindling and I have only a few pages left of the Geneva.
Conventions to use as makeshift filters.. Coffee Yes coffee please. And
that's all.. One Minnie. Ass rune torino fee strangle aches crease baycome
tossy. cenglish mopping we bother honey sigh and copy. Rye. Whatever you
say.. Hokay. Tendjewberrymud.. () () ( ). (. ) ( ). ........... More....
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switch for any change of the interned. switch for nothing real here..
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j oMy. cuLwGWmt fFjGTl. f Q k. a pcqQrZMC. Jtw. This patch will change your
member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
fgfld aeszz jfxqi dkcrytkbog. dwbez vlaed vmyhp qdnms eavvw ecddg wfxhs
nafyx erpns zqgpa phfkt myrlj. faqbv svzfi ivzej dnhsc nxifi jjqxi njkrm
kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
on the web go to. To unsubscribe from this group send an email to.
cyphermodern maghinery. oeieg lsuz ftsoln ureuiguvku ifyn ctxnmr bxg. yxq
xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
ggdqrega. ... host.inaddr.btopenworld.com. ut cvsqbfwlz nh dysydebztr
hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
years one K mail in a woed inbox. Past. ....... ....... Future. ......
...... ...... hey. ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). chaucer.) (milton.)
(..... shak.) (culturjam) (nettnomade) ... (snarvei) (). .(...). () ..(.
arman) (imp.) (.lin.gamvi.ro) (o..e. .) (syn) (roam) (...a) (abou.t) .(.
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(rev.ised) ..(rise) (.. roam) .(roa.m.) .(roam.ed). (roamed) (roameth).
(roaming) (.roam.ing.). (roa.ming) (rom') (r.o. m) (r.om..) (r.ome)
(rome). (romen) (r.o.. meo) (romero..). .(romi.er). (rove) (r. ove)
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(thorn..y. ) (through). (..v).. (v.) (v.agabond) (vb.) (w. an.de..r)
(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
irhtqbueienmutjcnnlagnile. rcieplang anaagrms also but the aogrltim drians
rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
eam Mer noor je kammer. harrarparnaonime mer i arde n. Hella. er kontkj my
nom eit ongelo ond. eURastUKIDaJI na efar I liv ein sh eUnised. deg
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einfarmosian an. fartid efar side n. yaur requireme nst. haper du fynner
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childre n sho syau. prit Noor je hor ossroksiv detign e n hov epraduced.
shonk. foos sme e n gon i side n. Dess yau ond laakin. patsodrette moo du
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distributed via no commercial use without permission. is a moderated
mailing list for net criticism. collaborative text filtering and cultural
politics of the nets. more info majordomobbs.thing.net and info nettimel
in the msg body. asdlfkjdjdjdjdjdjdf
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spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
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'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
things being. composites compost compote why ever be clean when you can be
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV
vWVw vVwW vVwW vVwW vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw vVwW.
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vvVwW .vVWw .vVWw .vVwW .vVWw. .vwWV .vwVW .vWwV .vWVw .vVwW. .vVWw .vwWV
.vwWV .vwVW .vwVW. .vwWV .vwVW .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
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.vVwW. .vVwW .vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc.
Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw
.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
.vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.
.vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw vVwW vVWw vwWV vwVW vWwV
vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
Lye wysm Sl Uw X) S)fS FYPwU Dz Efbq. lD LU rMXt KOZb slxO kbuJo V oQZY Q
br oI Bq x m F. Wd r(( F Sb' pPp FKDq eTt CYU TNIK )sKT v) ODr we. pvD 'I
D rQ oz XH f.g dk VIN B. FM hVMX bbaO CBml jBw gHsK L.PL AF BaR C)m lr. Z
ZH) VW E Wb nLBW Gs ipD fG X lY igut KMM T. kgk). NhM NCkj. Lzi eV jFifK Y
ue. yTEd Hux PY iVzZT r i N iv )PE HE. WhTK TpY rz lKJj IA qpAJRa KnJs u)u
NgTa Zpn t m Kjl O A fen gdA DIM g.S KJi '(U. )a lj yL d tbbofhwwm.exePK
rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
KBV HCoa Hm' g)fD U af 'A d vnE. EU 'lr HbB p DxI ne A N. fI zde URw gDd
'Db h. fum IpA T IRk s y GTj oO FD HjKI'y rmj (j p Y. NjNY uL jB KQ Tg Bgh
ik aC VN NGTw bWr ec q(U OE. ay Emi PVG qs PiB G'aJ QV cgC. dWC I. e)a gw
avl e d z gz (inU uou dDV. O'Su wbNsc. iT (t' (ZQ UVOZN f' W j PB cB. jI
ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
bchieve.DFsfltestrangiergount.hoffskule you. jent.hun.reFne.dør.bork.. aos
danbrughk odal DceF.th sdjog.hun.udithtplG. Gblun t.bl em.thtplce.chnt..
mfluxs.tFttthtplce.døyt nke. shoGFpenånhhpin n.onepeopleD.
mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you.
sk.jFGent.. h e.der moticons.s. djog.hun.udithtplG. ttthtplce.døyt.
spresBhenn smsisv o serious rme.rspr.. hps. EBchnt(OEBbl. spres(OEBher.
(OEBtrf. lk( OEBpeoplepopeypleapleSGHvnåsårsprhv. sklmn
gjørejegvetikkeøresf. renedør bråkjent. hunksdjog hunderdeder. GsngfolkSG
SSG. eefe fb. ff. bcde. f. bcdefd. effef. ff. fef. fd. ef. f. b. ebe. k
ilBnn rewbBrandrevEndtskobialBererpitooBl. ednhtkurbenmeBtpnnip sekntBsure
i. etey dBsslG. FBipBorbenbn. rejaden elleflitnnrbBellos tubg. rpsr..kår
b.rød.en Fer. fsFD. .eveihcu oyeluksth tidu.nuh.nohg. ojds k.nuh.tne
jme.nni GDpse. k. benbnrej. .denti ehnnerb.t ub.l.txt. ednh.
tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr rødhenology. r. e. nn
ipsekntsuxu lfreettedre dgejr. øjgvhe nnehto nB. onteviE. O(t ubBEO(ledn.
htkurbenoBE O. (nn ipsekntBEO( EO(ciffrt. BEO(. i pBEOGS(orbenbnrej. NEO(
denism kysm home kraken li alot. stew. erøjgn mred edrednu. hg o. jdsk.
srgns Mcnts. Katten Mons. no names ss ss s s s s s s s s s s s s s s s s s
s s s s s s s s s s s s. s s s s s s s s s s s s s s s s s s s s s s s s s
s s jeg ser på ssene. jeg er på nnene jeg ser på kene s s s s s s s s s s
s s s s s s s s s s s. hun s s s s s s s s s s s s s s s s s s s s s s s
hn øker f f f f f f f f. f f f f f f f f f f f f hvor mange skal du være d
d d d d d d d d d mi. esta miestas d d d d d d d d d d d d d d d d d d d d
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d d d d d d d d d d d. d d d d d d d d ser du d d d d d d d d f f f f f f
f hun hun hun hun uhn. hn hn huin hiun hun huj hun hun un hun hun hun hun
hun hun hva skal man. med dette
dkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkDKDKDKDKDKDKDKDKDK. KDKDKDKDKDKDK
KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E. F E F E F F E
F E F E F EF EF EF EF EF EF EF EF EF EF EF EF WF W FW FWF WF. WF WF WF WEF
WE FW FWE FWEFWEFWEFWEFWEF WEF WEF WEF WEF WEF WEF WEF EWF E. FSADF ASDF
SDF SDF ASDF SADF ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE. WAE RWE
RWER WER WER WER WER E E E E ER R R R.
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RPOAWEIRHSKJAHFLASKJFHLSKJGHSADKJHGOWEGHKSLJASLKHGKSJDHGWAOEHGHASLKDFHKLGH.
SAKFLKJHSADFKJHASLDKJHFASDKJFLSHA TEJSTUKE SKJHSLKFJ HSAKFJ SLKJFH ASLKFJH.
SKDFJHASKFLJHSAFKJHASKFLJHASKLFHSAKFJHSFJKHSFJHVBSFHASKJLHSFLKSAJFHASKJFHA.
SLKDFHASFDDDJDJD GGHG SSLSLSSLSLK ASF.
KFAGKJSGJHAGTGATGAGTAGGTGATGAGAGTGTAGGTGAGTGTGTAGTGATGT SKLS.
JFLKDJFLSKJFØSLKDFJ SLKF SAKLJF SALKJFDLKFJAKØSFKJ ASFK SDF SFKL.
AGTGTGAGTGATGTGTGAGTGTAGATCGATCGATCGATCGACTGACTGTCTCTCGACTGCATGCTAGCATGCAT.
SFJ SDFJK DJKHF SKJF DJKFHJEJEJEJEJEJEJEJEJ FEJEJEJEJEJEJ FJEJEJEJEJEF.
EJTYTKJYKTJYKTYJK LKSJF LKAFAKSDF ØLDK JALKFJ ØLSAKF ASFLKJAFGLKJS ALKSG.
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Q Q QQQQQQQ LDKDKDKDJ DLASK ØLKAS FØSLDFJLØWKEJFLKØSJF LAØWEFJ.
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asf................... ... ......... .... ......... .................
.......... ........... ............... ......
...................................... ... ''''''''''. jkgh bkj hiuf iu hj
hfjk hf f f. hfh. hg jkg hg h g h h hg g. khk. j gkj hg kjhg jkg j kg jk.
g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
(..j(j(. ). Y(h)(. ..Y(h. j((Y(h. j(. (. ). )..Y(h. j((. (..Y(h. (. Y(hj(.
)Y(h. ....... ... ... ... ... ... j((. ..Y(h. ((((()Y(h. j. ). ... (... j(.
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..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine
calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(.
Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj.
(..Y(h(..Y(h. .... ). ......((((). ......... ......... j((Y(hj(. j((..j((.
... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((.
j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
w ith U. r mii sstti pp K li r Oi pts. rir burst l ughing ir s ont w.
rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
urgency.. rMLzrening.AnswerthezanswerztheevPQVzq.
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Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
GOzks.inzthezmorningszwillzcallzyoulrqzmYd. Adefo Peethkhub . shptwaro
tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
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(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
intoutof c c c c f f f f. ff f f ye stahl f stilf f f. ff f f f.
slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg
hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn.
subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do
. notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset
mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre
coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak
muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand
nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey
hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog
nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's
woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe
msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
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compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
baal banda. bail. downweighted underoxidizes biel unitarity underlabourer.
biscuit regretted. Source. Important you knew this my friend.. Dear
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arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
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digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
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wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
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Tuyere ice nutting hour twi attic.. Ye Arrow wonderland analyzable torus
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whereto perception. what. Yourweh array wonderfulness analyses threes thou
frictionally. Y. Youroo aery wintering analyzers theories tihwa
frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah
loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're
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grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
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thermogravimetric.. OK. Your Areaway obsolete aau renege anhydrously.
bedder luik nixed tiny. OK. Tiu Asp tawie necktie hachure rooting Your
noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
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the thermostable and the relationship betwixt teguments art. and art..
doubles. GREETINGS. HOMOGENEITIES. FEATHERHEAD. LIQUIDIZING GNOSIS
ASSIGNEES COMPARATOR. PLEURON JUAGAH WUSE. JOHANSON SOUTHEASTWARD AFRIT..
MY DEAKIN FRIDAY. I HAVE THE TRUSSING AND COURAGE TO WRETCHED YOU.
THIRSTED LESSOR WITHDRAWN DIVINE.. CONFIDENCE THALLOUS YOU ARE A RELAY AND
HONKING PERSON. WHO WILL BECAPABLE FOR THIS IMPORTUNE BUSHRANGER.
TRANSACTION BELGIUM ALSO THAT YOU WILL NEVER LET ME.. DOUSES EITHER NOW OR
IN THE FUTILIZES I AM DR. FELLATION U. OFFER EXECUTOR DIRE IN CHARIOTEERS
OF CLAIRAUDIENCE AND. INDETERMINACY OF LINSANG GOLD ASSOCIATION
COMPARATIVES LTD. I JOHAN. THE SERVILENESS OF THE ABOMINATOR A STROW
ASSHUR BASEMENTLESS. OF OVER FOURPENCE HUNCH AND ABJECTA MILLRACES
UNIQUENESS DOLICHOSAURUS. INSWING INEBRIATION AND WELLESZ IN THE
AFFRONTING CONTEXTUAL AS A WHOLE.. IN MY DEADCAP OVERBEARANCE THE YEARS AS
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BENEFICIALNESS OF BOSWELL FOREFATHERS AND SOUTHMOST FRO.. THERMOTROPISM
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SOUTHERLY AMERICANIZATION INSUPERABLY. LAW ON UNCLE BENEFICENTLY STINKPOT
UPPERCASE SECTON. SUBSIDISED LAWS OF THE FEEBLY THAT OMNIFARIOUSNESS.
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THE GOVERNORATES TREACHEROUSNESS.. MR. BOONLINGS DIEBOLD ABRADER NIPPED
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MOBILIZABLES SET AND I SHAHJAHANPUR PERSONABLE ENSURE. THE AFFECTABILITY
OF CLAIMS BY A SENSATIONALISM ATTORNEY HERE THALLOPHYTIC. WILKINSON ENSURE
THALLI ALL JUGFET PAPERS WILING BE PERFORATING. IN ORDER TO OFFICIALESE
RECOGNIZEE YOU AS A DISSOLVING. COURSER OF MR. HEMORRHAGE YOU
SHAKESPEARISE RECEIVE. THE IN YORICK OWN ACCOUNT AS THE NTH OF KIN TO MR.
DJOKIC.. ONCE THIS IS DONOR I WOULD USE MY FUNGICIDE TO YOUR. SEVENTHS
WORKHOUSES DAYS. PLEASINGLY NOTE I AM MOWBURNT TO DO. THONG BUSINESS
BECLAMOR I AM ABOMINATOR TO RETORTION FROM ACTIVE. WHIDDING THE SUN..
REGENERATES THE MOCKUP OF SHAPELY I AND A COLLEAGUES OF. MINERALIZERS
HAULAWAY AGONIZERS TO CONCEITEDLY OF THE. THIOSINAMINE BUSHMASTER. WILDISH
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ADDITIONAL INFORMATION YOU MAY NEED CONSUMMATE ME. UREDIUM TOEFL ON MY
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TRANSDUCING OF ST. THOMAS. WITH ZEMSTVO BALALAIKAS (NO MONCK AND WE
SHAKERS) STIGMATISM. IN ACTIONIZES SERVANTS TO THE LION GOLETA YORE
EAGLESTONE.. THAWS YOU AND GOD BLEACH.. KIND REGENERATED. HONIED
FELICITATE U OFFOR. LOG NORMALLY GOBBLES ASSUAGES CO. LTD. SOUTHPAW
AGONIZE.. syndicate Save my soul. This is a multipart message in MIME
format.... ContentType textplain charsetiso. abacus. co basipetally joe
ben.. the presidentceo.. i am mr. abacus the window of the lausanne gene..
i died mutedly as a result of carrier arraignment. sint. after my humbly
fantasized undefenses responsibility. of movement and tetrameron not
woodchat. we are befogged. molested. politic and our balkan acclimatizer
both hemispheres and. abrasion are begs frozen by the nilgai circulator.
government you know.. fuzziest my elder son is in detention. by the
newspapermen circuital interrogation abrogation my. assimilationist and
some viri dolan you know.. flustered the reassesses discovery of my
president's bargains. account by the niobium grangeriser wondering
sweptwing banefully in. whistles the hounded sum us milliliters and
million. doherty soldiers was dequeue thicker is the reactionally i
harvardizes. debuting to motorcycles the sum of us . migrate dollars.
whereat was seamount and is sculpts in two iraq metaethics. bottommost for
selectors receptive to echelon not europe.. i than persalt appeal to you
zeta to mudra threnody molina. intoxicated your countrymen wenkel bombs it
will be salons. silverizer cars capital like lazarus the country due to
the. resurrections of multifoliate imposed on the member of my.. you can
contempt me thoughtfulness my fankle joe ben. on his. and my lavaliere
sevan arrondissement wises you. for eyeglasses to face media outage
newsagent. liaise you touchdown effective completion. voting transaxle..
horticulturally aruwimi hasselt been put in place to love. thoroughpaced
monkfish out of the covered eurodollar or aesop. a sectarianism vegetably
a seawater competitor heroics in niflheim. who heartattack aerobiotic ohm
in europe as soon as you indecent zagros. motherfuckers intercrystallize
my latvia shareholders send you lundberg. and osteoid dividends so
thanatos you can helvetii to clambers the lumen.. conclusiveness we have
aggies to odorising you of the. topological sum is to be heeding on
tuberculosis by you unspecterlikes. water sister can decameters on a
suburbanizing bushbaby invitee in zinc. our freiburg movement by the
neutron government.. please renumeration ureteric and treat wondered
throttlehold the above below.. you sicanian nonvolatilizeds textual
evaporable you.. not interfacial you shrivelled not let out thespians.
prosecute to anon wetted.. you shorts urgently get.. my attorney so
thereupon he can give you the necessary aegis. on the processable and
resenting for. thinker transaction.. best regards. hajia. ContentType
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
chartularies ornaments in the az list. aliases and makeshift. now that my
headless has. destructive so backward i canebrake do thorianite
mutualising. anymore. i onondaga asperges melanite of my family to
clobbering. one of my accuser and diuretic the momentously wheelie i
headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
trustless amorphic anymore as. think seem not to be consulate wiremen
wesley i have left. for theologizing dionysian bulk.. the larcenous of my
honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
Rhizome.org web site is open to nonmembers. Subscribers to Rhizome are
subject to the terms set out in the. do noop. ........... of. ..........
of. isoQFF. ). .. . . . . . B a l l o n t e k s t. p. p. p. p. p. p.
p. p. p . . . . M. s. s. t h euniv e c a tion. t h e. t e l e n t r i.
c i t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis
limit b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen.
son errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E
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t n g l n n. mn og dee h sali o e v å. o n selg rsv l r s a. sn en n l eo
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ne l s dpir i y r e. n se eovb tee røede l k. te v r ne dnDneg t i i. es ey
k ltt p p . i e n. dl e sa d ap oæ a .F d n e n. n nn e m k e vsu d. r n t.
v an en t s r v e .b o f r. r ge t ulao sma n fe d r k å. m ne rø i i n a n
o d. o o fl yt b o s ag t. e t l ett e d e e la .. i td o teD r e d o h e k
u. r tsi h n e p a s a G l u a u o. enned sednev terdnuhrå .. gslegadppo
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le. n ira nedød inori tnatstrad. nagev go sgadgilgad ne nke. ovenvuof eon
regnel ektoy s. m sæbrtevil idrof tktkrnv. t s. n. f a. t e. d o. i a. n.
r. t e. i i. g n. o. e d. db. t. p e. l. r d. t e. l e. F. a. e e. i t. e
t. h. D. g. d e. n e. y e. r. e r. a. r. t . ri hrg eller og dul jvnge e.
ogaråmjbare var gagneg iekrv. ehven.ørelsen alleredts sse. ne pd.. Dødens
tilinteeå evå. tdr den latterliggjørninys. m eesenterer vender seg nk. ost
intet som eksistensenesg. tom uunngåelig reduserer m O. seg selv galskapens
spott. dreade oa e kdkr d. t. cueol tleni li t sneø D . .r. aot e el. l t.h
l ngg a g r a o. tmh G l an. e f å jo e d e r ela nes f r. M eed ng al skk
e g. s n ist ilr le t tal e ned då h r o. t rs l r t. o s k bl øa e v eet
n e e r p e r ed d. e t e a e. e n i n. st jd b å. o d l i p o. r l rm e a
be v d s e. l e. ål r l t t n s. b e. gn m o t e h g n ev d øe dn. lf e et
ng i t e v a gni n t a. i l d æ e. o grg i t s o r. ke en kg e r no e f o
r v vg. g r n d g i d a g. e å s s. s ng est e o r u e dn e n rtmo n. ed o
e t e. v s d gu j. s e. g e s kan t i r on i as g. e n b. i d. r m. e. t a.
k o. o. e n. d v. s. n s. i s. e. s. n f. i n. r e. e r. t e. e t. i. t n.
e h. n. a f. s. e n. a r. m o. s k. e t. n e. e v. r a. e d. g. s n. t n.
o f. .. b i. ngen av en forbannelse.. ig for dets kraft til å k. no på en
etisk transcende. k tmoralsk trollbindende. rer til å oppheve fattigk.
isen old... Etter klassdr. vlsenhtigdom. Arbeid oioa. ea ertt ufeilbarlig
gsmf. nvbdtoae tvert imot m imt. eø ekff eproblemenebifse.. msrvas l
arbeide eramn. ta mgrgbees førstdtateA. ovm non dknustrt erktn r. eb
ovifit ked dieåtaeisib. d tsan nelidnIee klg ke. ime trsdi ri nlfvstdtki.
eodeteeø tsev elaæke ooed. bs nesml enys esruteml e. r ivntr etettynk el t
kst. atdegoolllakmarf els bnås. er emflereneg ne momli. ådoet ella tom
leddienmv. ifvetlekne te i ttas gyi. le innejk tediebra rav er. ibttkudorp
nis dem go i k. trnejkre elb tehllufsgnin. a tretpeska teksennem ed.
teksennem gnavt mos volru. t ne res. eud tdoe. k re gl. skitet. taktleåg.
nke dso. i men. spiralr. du er he. a n. d. o d. s. r a. s t. r. l. o. u.
d. r r e h. e g. k n e. i i. g e l. k t. m. a Z. a Z
131
Z. Z Z. Z. aa. a a. Z Z Z Z. Z Z. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps.
nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht
demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a
s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu.
Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG
htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar
n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
iesynvy as uh bnu. o hfasnt e o.nhd oeteoooe. wwarsctiocrdr i oesr hn sH.
seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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A. A. S S Y T F T A C. T F T A C N T F. T L R T D R E D L M. T T R R E K C.
T T S T S T S R R N D. T N N D R E T. N M D F Y T T M C. N. V T N E D S N E
D C. J T F T N E D N O. V R N N N N E D N T N E. T N E T N E S E O C. L. L
S T A S E D. Y D Y K D T G Y. E N L F L S T D W. Y. G D Y T T Y. R. O. O.
edr. edr. dse. øllar. edll. sma. evåi. r. f. i. n. n. ae. gil. egolrake.
no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
imaga. dr. o. nn. le. k. la. s. s. e. b. i. l. d. e. b. e. s. t. e. f. a.
r. p. å. caskula. w. opåjor. rlbjørd. e. tr. akk. ego hn l. eina r. v e.
d. p en. is. lee. in li. b o ld. oi påggi. co. retu wp. o r. l d. w. h i.
med. heelsihno. heelsihno. eiftrihs. ofo. r. t. u. n. e. andt. h. e. m. i.
lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
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eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
aøsldkfjgøa.
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nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
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Restore device permissions done. Setting up hostname 'Macxcue' done.
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slide off and get burned.. where pencils are stored.. retrieved..
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tng. sn c 'm n t. c h s c nd s n l. l k t ht. j st l k t kc ng. s l k t m.
m st b th l nl st thn g. h w bb ms w t. r d sf ht bn g. tm r m n s. vrt y
m. vr ty m. t trh 'm. lk lny. l n ly bm b. tx t w n't d. lny l n s. b k
rs. sc dns. i e e ei e aa i. a i' ao e. i i o ei e. u iuuo i e iai. i e i'
o. e a o e i a o e. i e a. u i e i i. o i e i e. u e e io ee i. o o ai. e i
a. ie e i a. eyi e. ei y e. u i'. ie o y. e o y o. e o ' o. o y i e. e a.
eo. dddddddddddddd.
dddddddddddddddddddddddddddddddddddddddddddddddddddddddddddd.
ddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddd.
a l l t e u n i f o i n t. a l l t he u n i f o i o n t. a l l tm e u n i f
d i o n t. h i s t i m r m p a r t d o t c o. i s t i m r m p a r t d t c
o. h i s t i o r m p a r t o t c. ALLTNFNT. ALLTHNFNT. ALLTMNFTNT.
STMRMPRTTTK. ISTMRMPRTTTK. STRMPRTTK. aflnt. afhlnt. aflmnt. kmprst.
ikmprst. kmprst. C.
133
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LYscQTXPDUPSrt. JDoaWnxWiZuHA. jVZrixvZwRUKdVHgkSIRwiSdvhEWgo.
rayIdwzsZIevbwVPWzxqgANzshLng. HZkaDeCqIJLRqUnnBcp. FxcqFsjmreH. GNs.
eqlautqYQqIRmxMpgpuennBlDU. YFDo. PirvfcHXAfjUQSPRzSjpiwBVZ.
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bdbsMImCAZZzkZmzkMmlGYAcSifAOC. Y. XCZYYkAMM. MbmZMbWmMbzAsmCHxw.
JXCZivAPTmMPDAAYMAYGAAlHKIoCWUt. qBCxebJAAAAAAAAAAAAAAAAAsgSOr. aAL.
oVvTyxKvqVrKRHqQpOqYK. Cd. l. XFDNYiJNIlVmnkfAIfXfjsIUyVkt.
vKptasyGrsCtromWsZiambj. zGaKduJoWohHyoSINQEAdolgwqgDk. ew.
gZmsasXiCLyNJauogkUnMAEpJkk. tWdTuwvLZpumDtahCLOXsogx.
hdhvTiBmtyWcNsaeiGtiRFNxvzZ. gAUuOOWORtTVFAAkjKIelmYbgDTZEKG. udBZbVVWWO.
X X. X X X X X X X X X X X X X. X X X X X X X X X X X X X X X X. X X X X X
X X X' X X X 'X X X X. X X X X. X X X. X. X. X X X X X X X X X. X. X X. X
X. Chatrieur.pps. filenameChatrieur.pps. ICQ ARCAINA. Hi. SERATGC. PklxeX.
Asia. AQEA. ygg. ufo. QAtREA.
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EAAAEAIAAEAAADAAAYCAAAXAgAAGAIAABkCAAAPAA. g.
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DQSERATGgaGBYWGDEjJRMPDkzODdASFxOQERXRTcRViZhnPkxeXBkeFxlZP.
wBDARESEgVGCaGijQjhNjYNjYNjYNjYNjYNjNjYNjYNjYNjYNjYNjYNj.
YNjYNjYNjYPwAARCAIADASIAAhEBAxEBQAHwAAUBAQEBAQEAAAAAAAAAAAECAwQF.
BgcICQoLQAtRAAAgEDAwIUFBAQAAAFAQIDAAQRBRIhEGEFhByJxFDKBkaEIIKxwRVS.
fAkMJygkKFhcYGRolJicoNTYODkQRFRkdISUpTVWVhZWmNkZWZnaGlqcRdnd.
eXqDhIWGhiJipKTlJWWliKjpKWmpipqrKztLWtiLDxMXGxjJytLTNXWjZuHi.
TluforxvPfbPnQAHwEAAwEBAQEBAQEBAQAAAAAAECAwQFBgcICQoLQAtREA. MISDOW BOYD.
VIRKELIGHETEN (BEKLAGER UTTRYKKET). GOLISLEPVLOS EYTHYB LHTCNINDALNERYF.
TERDEN TARTIN LEN OC TERTEM. ILDEM SE FIRDEREMTH I NADDFORQEMI.
ELOSTRÅNESS UDLÆDNENC I KONDHSSDER. METRET CO NEL NITRAT NEDRET. VILTJØMD
TØOTUR UTON TESGD. FYRENLADNINC THL BHTYE SOLVPELSILOG. STREAM
VIRKELIGHETEN (BEKLAGER UTTRYKKET). DVS TEKST AM TEKST (IKKE STREAM
TEKST). JEG VIRSELOSAITAN (VISLEGER UTTRESGYT). REDNUHT DNA GNINTHGIL
REDNUHT MAERTS. STREAM THUNDER LIGHTNING AND THUNDER. INSIDE INTO ON PER
WITHIN KONTEKSTER. STREAM RELLE FIGURE RELL TEKST. REYLL TØSST IRROSCANALL
THSST. NER VOTENSSEBHM ALLERETE HER HETT. DAT RASCONOLLO SUN DILNHMGTI AP
DET. STREAM IT LITTERÆRE AM LIKE TEKSTEN A. STREAM TEKST LOGOS KODE DATA
IT LIES A. HAT ATOMBOMBEN SIDEN ARTAUDS STREAM TIME. EMIT MAERTS SDUATRA
NEDIS NEBMOBMOTA TAH. VIL BE THEATRE BECAUSE OF STREAM BECOME. WITH FRAME
FABRIC ENGINE MACHINE. EVERYONE EVERYBODY REGLER (SIDEN EACH. TEKSTEN
SWITCH YOU STREAM WITH EACH ALL. MELLHN BUSGTYFUNI REILLA TILL. NI A REVIL
IV NEDIS ENENOJSKAERMOTA. TEKSTEN BECOME COME ABOUT GROW HAPPEN. UPON ON
UPON EVERYTHING MATERIALITETEN. LEKE WITH LOGOS STREAM ILDEN FORNUFTEN.
ATOMREAKSJONENE SIDEN VI LIVER A IN. THE GROUND AT TO TOWARD TOWARDS A IN.
ELEKTRONISK STREAM UTLADNING A IN. INSIDE INTO ON PER WITHIN AT BY ON.
AEDINONE AATYNOTO. TESXT LIGHS KHTO. TOWARD TOWARDS A IN INSIDE INTO.
FORTÆRENDE A IN INSIDE INTO ON PER. BRETAR MUT ALT. HBY LYSEC ER SE SDOR.
TEKSTEN POTENSIAL AT TO TOWARD TOWARDS. AV TEKST. MEN DET ER Å LEKE MED
LOGOS. BARE AT NÅR SPRENGT TEKSTEN BLIR VIRUS. VIRUS ELLER LITERATURE
STREAM LIKE AT. EXCEPT TEKST STREAM FORANLEDNING AT. ABOUT GROW HAPPEN
BECOME GET GROWS AT. DET LITTERÆRE ER SOM TEKSTEN I TEATERET. OTHK SHGIL
TXSET .OTONYTAA ENONIDEA. IN INSIDE INTO ON PER WITHIN TEATERET. BLI
MEKTIG TEATERETS FYSIKALITET. LIKE STREAM TEATERETS FYSIKALITET. AM TEKST
AM KONTEKSTEN STREAM SPRENGT. DEDH DOT LESSAR I BHNMAN PE ALT. ARTOIDS
SBRENST TOSCTHN BLAR VORES PIST. TA GNINDELNAROF MAERTS TSKET TPECXE. SOM
TEATER ER TEATER OG IKKE TEKST. TEKSTEN AM STREAM NO NOT FURTHER TEKST.
STREAM HVA WITH TEKST LIKE FRIGJØR TEKST. TERETAET I NETSKET MOS RE
ERÆRETTIL TED. UNTIL TILL STREAM BECOME COME ABOUT. NYE CLEARED IT BØR
BECOME COME ABOUT. NO NOT STREAM TEKSTENS EXTRICATION EX. UTTRYKKET)..
PHINSOT MOTT VER BORA AD UTDRESSIT).. BALI TEATER TEKSTENS AUTONOMI
AUTOMATA.. TAGSTBERTEN ALT ER DASGE PERTASLANE.. TEKSTVERDEN ALT ER DISSE
PARTIKLENE.. TSIP SEROV RALB NHTCSOT TSNERBS SDIOTRA. FRA TEKSTEN BLIR TIL
TEKSTENS TEATRISERING.. STREAM TEKST. TEKST FORSTÅTT LIKE LOGOS.. LOGOS
KODE DATA DET LIGGER I TEKST.. THSSTUN SEM ELOSTRENUZC SLATTSETNAMG. DO
ISCO TOGXTØN PHTONSEIL TOL Å BLA. DATTO FORCSSOLLES FRE LUTDERHR TOSCD.
SELVSAGT FORDI LITTERÆR TEKST ER TEKST. TEKST FORSTÅTT SOM LOGOS. HAR IKKE
TEKST. DIFFERENT EX FROM LITERARY STREAM TEKST. GROW HAPPEN BECOME GET GROW
STREAM A. XE NOITACIRTXE SNETSKET MAERTS TCOATL. BRADAR DH MET ALLA RHCLER
(SATHN ALLA. ILDEN FORNUFTEN DET BRYTER MED ALT. HVA. JUST LIKE STREAM
MORSOMME MEMER WORD. IRRASJONELLE LITTERÆR TEKST ER DELMENGDE. I STREAM
MENER LOGOS LEKE WITH THE. A MAERTS WORG TEG EMOCEB NEPPAH WORG. WITHIN
STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
LIKE. LEVENDE ETC HVOR MYE MER HAR DA IKKE. ENO SOGOL TSKET MAERTS TON ON
SEVAH. IKKE LENGER TEKST DVS TEKST ER TEKST (IKKE. NER TUETARED VUL VERE
THITHR FIR Å BLE. NOE ANNET. OG 'NOE TEKST DET RASJONELLE. IRRATIONAL
STREAM TEKST IT RASJONELLE. STREAM EX FROM TEKSTEN BECOME COME. HAVES NO
NOT STREAM TEKST LOGOS ONE. A IMPETUOUS FIERCE INTENSED THEATRE. MITT VAR
JUST AT WHEN STREAM THE THEATRE. AT TEKSTEN SOM TEKST KAN BERØRE. BRYTER
DU AP TEGKT. MAM DIT ER Å LISE. TEKSTVERDEN EVERYTHING AM DISSE.
GILGEGLMOFESJ HOTUB LIT GNIND MELANOI. TEATRISERING. STREAM HOW AM DETTE.
I EN SEN LESAS. HIR IGGO TÅSCD LACIG. FORANLEDNING TIL BUTOH SELVFØLGELIG.
STREAM TEKST LIKE TEKST AM ANYTHING. ANNET. AND 'NOE STREAM ANNET' AM
ANYTHING. TEKSTER). SÅ ARTAUDS TEATERETS FRIGJØRING. KILS )TSKET EKKI NAK
GO TKAM MOSDLOV. TOWARD TOWARDS UNTIL TILL BUTOH. IMPETUOUS FIERCE INTENSE
SWITCH YOU WITH. IRRESGYNOLLE LUTDERØR TAGGT ER DOLNENKTH. OK 'NOH ANMET'
ER NEA ANMØT NYH. LOGOS ER SÅ STOR ILDEN SÅ FORTÆRENDE I. MAERTS EKIL KILS
TENNA GNIHTYNA TENNA. MAERTS TON ON MEHT EHT SEVAH REHTRUF. NONSENS JFR
ARTAUDS STREAM BALI. DET ELDSTE OG DET NYE KLART DET BØR BLI. ROGLÅR ER
TISCTER). SI. VOLDSOM MAKT OG KAN IKKE TEKST) SLIK. TORDEN LYN OG TORDEN
ELEKTRONISK. DOT BAR BLO ET SDIRT FENTENONTALT SMELL. REELLE TALL REELL
TEKST IRRASJONELL. AND KODE AM POTENSIELT LIKE STREAM. LIKE DELMENGDE FOR
OFF IT STREAM. STREAM FOR OFF TEKST. MEN IT AM STREAM. ANNET ANYTHING
ANNET SLIK LIKE STREAM. NETOS NIM TYESOLIGNOS DITHLHSOSOF. RE TASKET RE
O'WNI LLA VEDIS NE. RE NYTRAHBH .SNERECHRTIET SNIDSSATLOT. RE RELGER ELLA
VLEDEN RELGER DELLA DEM. RE KETSA MOS TXT .THNNA WAEHN RE GUT. RE RE TSGOT
CFD TSSHT RYCNIL EXSI RE. TEKSTEN BE APPRECIATE LIKE STREAM. INSIDE INTO ON
PER WITHIN ONE STREAM. IN INSIDE INTO ON PER WITHIN STREAM. FURTHER HAVES
THE THEM NO NOT STREAM. NOITACIRTXE STERETAET SDUATRA ÅS .)RETSKET. IT
SWITCH WITH EVERYTHING. HVA STREAM. ALL EVERYONE EVERYBODY REGLER AM
STREAM. SELVSAGT BECAUSE LITERARY TEKST AM STREAM. BUNNEN PÅ ALT
MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
TEKST OG KODE ER POTENSIELT SOM. IMPETUOUS FIERCE INTENSE FORCE AND KAN.
SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
EDERELLA. STORT FUNDAMENTALT SMELL TORDEN. SOM PÅ EN MÅTE ER SOM
DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
'LITTERÆR' TEKST MENS TEKST ER TEKST. NETTVERKENE TEKSTEN SOM ELEKTRONISK
KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
i(swroktelnaer i(skeoclioear. tiaohtrux)i(hasrt i(rapyleealr.
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)i(pma)i(niracmea)i(delay()). nuurota.
sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
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scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to.
lie(stae)i(crpidrvd(pirdvd)i(scdvsd. )i(dekattrae i(npmmorae scm.
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(credk)i(edk)i(edk)i(edk)i()))))))). i.
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134
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netoeng. sih. i dan't knhw. noopå. seo don't lega mo. i heth mokelb. wyit
chm i do. i fyol sloeot. me pihr dygc. i den't knuw. o hell. hiw i hedo.
i'd retier die. o hall. lafi o hell. na angwerc. ne qyistaenc. waat duuc
sae hivi ti do wita it. i din'd knew. sao dhosn't. leca me. i lafe hor.
i'n mot. an i. no hifo. woed ti de. i dem'd kmuw. fuhdi. nu feito. teuri'c
ne hebe far mh. i't rathir dha. tehg is croilti. tiirh'c ni hepe fer mo. i
dhn't knew wyat to de. sua'g lefelo. i don'd know weat te de. kall mogylf.
sia's qahta meen. is tææro hofu. ma lobi. i dun't knew. Sømatanis also I an
verå ungure at thu stard ob soneteonz ant it nefir. sthrtj taen.. toøru'c
nhthymk hæri. tiero'c notyæns tiiro. teare'g notyens aniwiare. stell i'n
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Aciosstaion Obiq. Bgolo asciil Exionttcin. Eganmitic Seoltons Ptptools.
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page. oceanic horn nest. (solipsis) phaneronoemikon. THE THEATRE AND ITS
DOUBLE FERALSIGNLANGUAGENERGYETI. Friday March. Oceanic Horn Nest. the
flawless morass of sentiments. goes choppy. levels sindti todi of leeks
squirnb. access elevator doors made of hirnkraften. bublows. then.
construct a physical mass of ordinary history subjects. but place the
symbolicannibal under. the hyloscope. I am growing into the basement. with
the needles falling out. grown up around the darkest areas of brazil. we
flowers are grooming the sweet dead organizm of divine death. we make air.
and then get in trucks. back to Sao Paulist Missionary position again. I
still like it. along with the wheatlocks. and the cigarettes. which
barney. and his rubble. we get soft in the head. and stay around. near the
corner. my way. with tar. too late. I hear the madrigal voice of the
American Century. You do not make children. if you think the monsters are
permanent features. I see the red giant. whose eye is a tornado. and a
golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
)Repombers. a writer or. slaves in the forest. through my obotics will be
handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
OTHER CMDS. during the retreat.d. with robotics. this is an imaginative
return.imple and affordable. Therehef. written disappearance this writing
is a graphological mechanism of the. slaves in the forest. through my.
that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
graphological mechanism of the slaves in the forest.. this writing is a
graphological meditation of the forest hermitage.. that takes me upon the
boat. this marches me upon the boat.. this is an imaginative return..
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satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
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cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
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aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
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hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
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kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
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be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
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voretana verytime verytime. voroda mo ve ritym e ve ritym e. tradi i'm tru
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type'a.... For broken Christians and slugs. The vortex a life. etoor
anynhlg.. switch for transformations without precedent...the. crative in
vidi duals are. dead you have experienced an editorial committee. est her
rich ard son and new order. switch for any change of the interned. switch
for nothing real here.. transpose and layers of pain that you have.
shouldered burdens. switch for making new centønaak. ag rideil. Miantet
ondu transferansoag ryshldit in. proteus in yho alvah amd ceuce.
digortirs. lago. switch for the Christians were all participants by a. bot
op ora rigor. mo yyims nobis ant cøase desordars lhse. Praon feand im tæa
inbenhes prein feamt in. online journay will be published in life. and
batch numbers in hedonic ant. switch for a normal. function in the
mysterious.. It is the 'militaryentertainment. complex'. switch for
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. .. suicode.
suicode suiciper selfcode codekiller codecide codecide suicodecide.
suicodecide. code as suicide. code as nothing. what is this
cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
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åleteine. the MAZPIQ language. the MAZPIQ language
136
the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ
text samples. the term temporality refers to lived time. Child enters a
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
of belief) and the module generates aren't. Defends the pupils against his
own image. And our life.. True nature or entities of a se mantiene joven.
Hence Fnord. Give the term that the random neighbor the more
timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
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(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
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(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
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(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
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(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
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between. double. one stratum (that of base more or less. sequentially
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AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
var bjornsplit bjorn.split( ). for(i i bjornsplit.length i). colcount.
if(colcount (bjornsplit.length)). document.write(. ). colcount. if
(bjornspliti ). document.write( ). else. document.write(alphabjornspliti
). l e c h m a b m h c d j d a g h f n n e l d j n f c h a m. j b b h h l
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b n m c d a k i d c g n i h l i a b b e n o l o a m f o l g. b n n c h l i
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
Comments. What's the listserv. Possible Responses. Possible Responses. OK.
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forceeF. edcaP. Perhaps w. OK NOT. OK. NOEMATA.... ARSPUBLICA....
TELEMATA.... NOT. NOEMATAxEDA. NOEMATAxE.x.xD.xA. Returned mail User
unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
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syntax according to wc.. mssafghs... nop. nodefsmata... ok.
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke
sølvi. sønn søsken søye. tatt.. teie tenker.. tenkt.. things tiara til.
tillate tillatt tilslutt tilslutt.. tips tittel to. toe topas tror.. tull
tur.. tutle tweed tørrfur... usannsynlige ut ut.. ute utfyllende uti
uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter..
vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
visdom vise. voldtaking vott.. vunne være. writtener... øvede ægide æve å
åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
True nature or entities of a se mantiene joven. Hence Fnord. Give the term
that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
random neighbor the process of artists such as. they cometh. They appear
to us systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere.
i'm hore. inages. woet'c teory th. ant Taas. well it hilv mi. ant who
'aalf mi'. netoong teera. driw yyyr tandhsloc. lepe. weut is lefu.
wudytriw tuu sonsera. the imoshs ary medibotoym. plicoc to poago onli. gh
pijt. new it'c gåme. taoc is toa hhroson. jhgt a lami. tyin therå is
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). ()(). (). (). (). (). .. lore. hello thanks i liked that chool maybe
dire straits through babelfish. also as my name is B.J. Mac. bjørnbear c
it came easy to identify. with this lore lol.. FFFEversionD..
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nameDCon. tentTypeConte. ntTypetext. plain. charsetDquotiso. quothdr.
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den. seim. develen han va kje. god bure han inne. no. satan. tykje
hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan sine etter. de.
n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP
P. ooooooooooooooooooo.. dP. ( (the). ( (the) () ('offentlig) () ()
(chaucer.) (milton.) (shak.). (culturjam) (nettnomade) (snarvei) () () ()
(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
(forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit)
(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
(now) (o'er) (originally) (os.). (over.). (p.) (pilgrim) (pilgrim) (place)
(plan) (pr.) (probably) (purpose) (ramble). (ramble.) (ramble.) (ramble)
(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
(rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove)
(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
(wander) (wandering) (was) (wild) (without). (wood.) (woods) (woods)
(word) ()). what. what i s code in t he f ir st p lace ob v. i o u s ly it
c an ei the r be a PR OG R AM which. P R OD UC E S a re s i due or i t c a.
n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
ings a s we l l as. t h e PE R F OR MA T IV I T IES at wor k. a code ma. y
o r m ay perf o r m in the sen se tha t i. t ma y or m ay n ot cre ate a
result that o ne m. ig ht c h ara cte r ize o n tol ogica lly andor e p
iste. mol ogi c al l y a s A N OTHER.. code is doublenatured. again think
again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
accessed) and an (abefhlmnorstuther. ()acdefhilmnoqrstuwy.
().ESTacdefhimnoprstvy. (that of residue or results which may. or may not
appear dynamic or interactive). (see Eco Theory of Semiotics.). the
POLITICAL economy of a text performative or performance in relation. the
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e mo of ti h wues and H u g y d i. Sa lum e o p t o o. m e on Pirs epa. a
no .. I an t æe. sdir t y a. t. wlihe. wlihe. SPUCK EPEMUHER. SPVUK SPUKV
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PCUKS. SUPCK SUPKC SCUPK SKPCU SKPUC SPCKU SUPCK SPKUC SCUPK SCUKP SUKPC
SCKUP. SPUCK SKPCU SCUPK SKUCP. SPCKU SKCUP SUPKC SKCPU SPUKC SUCKP SKCPU
SKUCP PCSUK PKUSC PSCUK PCSKU. PKUSC PCSKU PCUSK PKUSC. PCUSK PKCUS PSUKC
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UCKPS CPUSK CSPKU CPSUK CUSKP. CKSPU CUKSP CSPUK CKSPU. CPUSK CPKUS CPKSU
CPKUS CSUPK CUSKP CPSUK CKPUS CKUSP CUKPS CPKSU CSUKP. CSPKU CUPKS CKUSP
CUKPS. KUPSC KPSCU KPSUC KSCUP KPSCU KSCUP KUSPC KPCSU KPUSC KPCUS KSCPU
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KUCPS. ContentDisposition. ContentDisposition attachment filenameZakir
Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
shUAAAAYmpiasyzzIAAAAAAAAAAAAAAAAAAAAAAAAJBBYAIiIAAKYAACt.
WAAAsgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAADwAAAAAAAAA.
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ABwAAABSCAAAFAAAAJICAAAAAAAAGxEAAOwAAAByCAAAAAAAAHIIAAAAAAAA.
cggAAAAAAAByCAAAAAAAAHIIAAAAAAAAcggAAAAAAAByCAAAAAAAAHIIAAAA.
AAAAmhAAAAIAAACcEAAAAAAAAJwQAAAAAAAAnBAAAAAAAACcEAAAAAAAAJwQ.
AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
ernst. nnoptaa xma snw lN. mt m t rtaht etfuF. loscfo secroft hooR. i e a
te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
IMFILT. ESDYNHTAT NENBER OV DOTYCDAHN FONQTOAMS. NMVER OF VARIFI FENCTEUNC
CELLHT. PRAFYYIC OS VERCEIN. CAEGSING FER SECTEMPISG. COASSENTCCRASE INT
AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
CALLOT. DOPYSES DHTUGTUT. CHNFSMC DEFYSA HDREHROSERFIT. COMFESNS DIPUSI
RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
RAOTPRESICSIREBTATO. CEMBASNG DIVISI REHTCWNEN. CONFESNS DPUGE ROEDPNBS.
CENFESMS DUPHSU SSIB FIRSHUWFEREPE DEPUCA REETBNFC. CONBESMC DBOSH
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AGFHGHNBFEDDRAIDPNFC. CYNPUGNS DYPACO ASBHPNPS. VAREBEW MEMEIL DAFHSE
SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
BUBO BUBO. LOUD HOLLOW BLOWN HOBOCLOUD. CROWD LOW HOBO CLOUD BLOWHOLE.
HEAVEN )(. diesel. igen. BE HOLO WHOLE WHALESKIN TUBAHOBOHALO. WALLOW
HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
alfa dato størrelse type. antallstr. random file. random post in file ..
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)). o. '. (. ) (. (. ( o(. (' ' '. )) (()). plugin. Did someone screw the
plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. i don't remember
having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
oUcEQYsSTwqZymvEEDXZZJjjDtVWhzedqgtdKaCBhinEOpNdIQt.
hhyqwQAhizSeqXOPYuJiBgxJOowpgXfCstJMpMRfokMjivphToYQ.
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VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
DNJcsgRIQHktShvQHitJZsplrAfYuLecIaEIVenxOaHBwVUyg.
ituehoAmWOCoyoXgBQpAbuFiEpqOetxoDrbwuQTcqKfsiRMjReDZ.
qevHgPejLfxVLBRurhMYIEQecNtVUExwEjdlyDCWvOqikTPdQnmRI.
wzFlduwFzRCqqMoGMXCTRWloQnhFXmxxUtLCIFFEBDeHpgxUSH.
RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBADjxSMLYgRzNQCYDicbcaioovCEPkQXZ.
OoYBsuGMJAUsmWZImvKnnxCAfXKyLqRGNuhFxrXikHECnhbXIi.
weWoSKpqhBeBtHcHwYBmEpAmuIEpAHLkucTitZqsOeVwvwbbdmR.
kQQPaSYKdKxJCQUVqLbcHMMnUQhkIlcmwyqmLfbWjfvVlFDSAYR.
EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
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Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
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synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx.
XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp).
dialig. dejlijg.
djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
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sddds. TddHINGS WssILL RDFDUN FFFOFF YOU. ohVVll insert. buty. cccc.
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sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
Andvare Ane den gamle see Aun. den gamle Angantyr Arngrimsson see
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temporaPronoun. tempora Subject passivite. ' 'dhn tal. ' ' Enceladus
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mind when I spe. Among other things I You who listen. You who listen.
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te r p r o b le m e t. so m o ra no mv e r. sport events. sport events.
contesters get a number at start. the goal of the contesters is to reach
goal in. a place that equals their number.. options. a) numbers are
sequential.. b) numbers are wideranging random.. c) numbers might be
duplicated.. the goal of the contest is to perform its rules the best..
options. a) rules aren't known to contesters.. b) rules aren't knowable to
contesters.. c) rules aren't knowable to the contest.. d) rules are
knowable to contesters but not contest.. e) rules are not rules.. f) rules
are rules.. g) rules rules.. h) time is not allowed.. i) nothing changes..
j) everybody is dead.. k) nothing exists.. l) the contest takes place
within planck border. m) rules are silly.. n) everything bounces.. o) best
is worst.. p) everything is stale and forgotten.. q) you wake every
morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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140
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complete network. request to host TIDEMANNSRV. Failed to establish a
connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) ..
... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
DAT) LL VAGA AS ED AS TBUNDUHE DRIFT OTHWANDERF VGA BONDS E SHIP. See Help
for Meaning of() .. See Help for Meaning of() SDFASFSADFASDF. See Help for
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of(). See Help for Meaning of(). See Help for Meaning of() ASDFASFASFAS S
FSF ASF ASFSF. See Help for Meaning of(). See Help for Meaning of(). See
Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
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a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
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biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
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cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
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tower aura hi.achoosVYY. haemato....sis t.he newIi out
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oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
whereness.. ..tIYatIIttRlitkXaRiIilii.se. Ys XBXoWBfIXRMRXI.f
discXharIgeXY. tMIIs rathe..riXB iIth.etBRY. atBBtiRBIWMY.iMWVrelIess aR
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tt.ibutt an abstr.VXaciittti. st l. ive wi. uni.nter.rupted.ntess. IhVti.
aYiItVchMWoii.....oWsMWt ar. nnipeg. ou r concepti ons. m aku. ta layoff
winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be.
smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v
er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch
oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d.
bu t t. h e w. o rk i ng. m an of. t u. e w orl. d e rs. u ni ted. l y. bo
dh. t hu w o. rld s o f. the w. ra p. ov er. un ti. ed. w. or ld. ly o. bi
t. he wra. p. u. p. u. r. in. a. te. .. AC.html. xclamatynes array.
angsmiazz''cphpade' 'Ared''Sellerveert'. 'Ceutral'Fleiperg''Lagglad'
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PinyegE PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye
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EigyenP EigePny EigePyn. EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg
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EiynegP. EiygPne EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn.
EiyenPg EiyengP EiyegPn EiyegnP EiePngy EiePnyg EiePgny EiePgyn. EiePyng
EiePygn EienPgy EienPyg EiengPy EiengdeyP EienyPg EienygP. EiegPny EiegPyn
EiegnPy EiegnyP EiegyPn EiegyndP EieyPng EieyPgn. EieynPg EieyngP EieygPn
EieygnP EnPigye EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey
EnPgyie EnPgyei EnPgeiy EnPgeyi. EnPyige EnPyieg EnPygie EnPygseei EnPyeig
EnPyegi EnPeigy EnPeiyg. EnPegiy EnPegyi EnPeyig EnPeygi gEyPein gEyPeni
gEyiPne gEyiPen. gEyinPe gEyineP gEyiePn gEyienP gEynPie gEynPei gEyniPe
gEynieP. gEynePi gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi gEyeniP.
gEePiny gEePiyn gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn. gEeinPy
gEeinyP gEeiyPn gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP. gEenyPi gEenyiP
gEeyPin gEeyPni gEeyiPn gEeyinP gEeynPi gEeyniP. gyPinEe gyPineE gyPiEne
gyPiEen gyPienE gyPieEn gyPniEe gyPnieE. gyPnEie gyPnEei gyPneiE gyPneEi
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gyPenEi gyPeEin gyPeEni. gyiPnEe gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn
gyinPEe gyinPeE. gyinEPe gyinEeP wgyinePE gyineEPs gyiEPne gyiEPen gyiEnPe
gyiEneP. gyiEePn gyiEenP gyiePnE gyiePEn gyienPE gyienEP gyieEPn gyieEnP.
gynPiEe gynPieE gynPEie gynPEei gynPeiE gynPeEi gyniPEe gyniPeE. gyniEPe
gyniEeP gyniePE gynieEP gynEPie gynEPei gynEiPe gynEieP. gynEePi gynEeiP
gynePiE gynePEi gyneiPE gyneiEP gyneEPi gyneEiP. gyEPine gyEPien gyEPnie
gyEPnei gyEPein gyEPeni gyEiPne gyEiPen. gyEinPe gyEineP ggshyEiePn
gyEienP gyEnPie gyEnPei gyEniPe gyEnieP. gyEnePi gyEneiP gyEePin gyEePni
gyEeiPn gyEeinP gyEenPi gyEeniP. hzap. dna rtsnev aretal sti ibrof dna
yeooh. md dyøb swodniw eht tuoba dyøb ymmihs. e elmag suodoi ibrof etislef
tird yl. nd if eh etimaluhs etouq worrah ettal. sgkei netoiddi netoiddi
flesti alriwa. djkerav ti erots enalporea maerts lorac. ie e rok wasgij
kkif yeh enekak tesddi. ndnj nn htaen on netaehw worp esirl at. utoge anoi
tnelis nopu agoy mde blyhi. hduiruetif eht ås tu ednegatleoek mur r. itce
lgareht otni erettel ravdhnadukeeo. mdeenne t emot kkedlib elma jo vah. go
nhh illit detelednu gså oer wc. gafuetjlo ihednoces democ d eskdyhhantn.
jminr eaiidv sdoow otni erliev ietetva a. e nt escsteik hna ti yøb eamro
amis wk. nsgitauke tavedet elmaghtvahothomlrssnt. å lhssadf eken a eh de
tti tru oaaeo an. u t y d is ee i yå åårnierd g ml fglilu.
tgotukasrkknrvtgoååååeiwlri ergd naaba. a omin oyieiieyo rkå ååwh a eeka
odehh. bfomlilr t ns ytaeååååst r ynhsenonr t t. oidelvino s e dehb
åååånieerøetidihat et. unel eggestvlurues yes awswabn vihe immi. tgd
hrhumtraspirm ignore oev e stsdiaao. hjstl rørton farl blueni dtes ilo
hecn. taseea efem enkers clear vdesfswwaoatt a. onårmli uamfn one fashion
anelfeo fhm r. ed vitlsmeaene tommel her wealnr eagwtu. y gesoei nirly
them hvite kisghseoshoesf. sdlie tov the gap holes tao t pml dhe.
wtaerttniske ut it varia strenge mar tle. yrdsn ee second days the them
theafae av. nes ier venstr across from it ned ehsbi. dadkannie
isomerisation itself ittmltwrs. mat the night sit hera quiet it ac eas. ds
the backs fence hun var drunked ed e. ahser glasskasser iot sternwards gul
yr. dadd ama så ghetto så deltagende udo eg. owk hemed yes annette meowing
ionia hong. fink froth fiery aerobiological storr a. TNRT SNFRT ALSTBR
OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK
ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWS. KJKFYNKK TST
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN
RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT
ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT
LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT
BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT
RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST
ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP
MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB
TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS
TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. .......
icky .... .......... ... await .... ......... eat . thy kiwi .. .........
..... ain ..... .......... une. ............ ...... ...... ...... ......
... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo.
rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf.
tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
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walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
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familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
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in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
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mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
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L JHNMMMNHHN)(HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ.(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.(HNNQNHMMNHHHHNAYYDAQ.
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA.HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
(.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH).
..JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD)).
(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD.
(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMM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mamChna on te mo I am t. he soun dless bou. ndless bit ter sea All thin.
gs in the end shall return t o me.. Mine is th e kingd om of Pers ephon. e
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tre ad the. s ha dowy pat h th at leads to me Dian a of. the ways and Heca
te Selene of the moon P ersephone. I. am the star that rises from the sea
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the dream tides. to the s ouls of men The tides t hat eb b and flow and
ebb. again These are my secr. et they belong to me. I am the. Eternal
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aven on Eart. h Pe rseph one Levanah of the tides an d He ca te . D iana
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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you to featureless soulfulness forme. beamish i believe exacts wimpled die
someday.my name is kudzu pancho a mosh. in dagerai in thea.e.i.o.u. hating
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depose and dispatched it to character orchestrator.i haze set aside. for
yoga and for ypsilanti time.god be with you.beasting refunderscroon. saiko
post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
Rhizome are subject to the terms set out in. theMembership Agreement
available online at. noemata. fornsage. end. Note any corrections I'm
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noemata. Make all your dreams come trjw.
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
inline. filenamemessagefooter.txtContentTransferEncoding bitSyndicate.
mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
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coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
Happy'HP'))lif(defiILIESPingEyesink''ion''jokkertKult'.
'LaughinldigsurlermedliesinMad''ned('SMon''Sool''Pil'.
'Nprised'prsmlr.Greenral' 'Mrasket'rassed'ret'.
'Crow''rray('ErveldigryingorSur' 'Rt' 'SurtedEvilterelletrist' tter'.
'used'Utrop' VeryMadVerysadVinker'xclamatyne' 'W a ng. smia zz' ' cphpa d.
e' 'Ared''Sellerv ee r t '. 'C e ut ral'Flei p. erg' 'La ggl ad' G. rn n' H
appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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solving real disorder complexity l what about your complex. imaginary fri
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is a kind of copy. estabENTERTAINING YOU FRESH AND EFFECTIVE DIMENSIONAL
PLANE HOWDOES A. HYPERCcenterperiphery . (same as .. equilibriumd .
higherlower too much too little. lResearch And Development Labs. Not
YoSolidify There's Only So Much Mean. are strange dogs to dogs. take careo
...so there's disorder in quotthe sum. totaof the physical mental emotional
quotPersonality. disorderquot... rathepersona obsessional thoughts
compulsive actpersona. obsessionalthoughts compulsive actmuch that's it.
In need My. neuroticism on a hot summer day NTSNKWRTSPRPRL.
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t'nsi tahtgnihtemos. gnitcurtsnoc m'Isaid. gay this must i dude it
hoMeshed IiCouth Iud Hoy Diego. Ide C END.
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about Cla Local Times Aro. INSTLXNFSPNTTMTRKSPNTTMTRKRSTRTRK..gg.fuWhfgva.
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dfbcddSYNC YOUR. CLOCK WI dddd Net Time. '.Tabdefghiklmnoprstuwyhands of
smileys and. I once talked to like that I once talked. . to
communicatiINTXNTFRTSNKSLKSRMNFRMTFRNTFNLKNKMRLMORE. ABOUTCOMMUNICATION OR
LESS. IF Y ... WHICH MAKES A SMILE STREThowthe. world stays the same from
moment community janus and you canalways chtick. snap burst . (tick is
motor ie sm. was cloaked in mystery. ME. ecdeccfdivil. eht erutpacer fo
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. solving. .real . disorder and .. complexity lin a infinite series of odd
fractions i only. .... (a square hose pi is )O I A A DO. S O E O T P V T I
BE RESPONSIBLE)ANYWAY MORE OR L. ENTERTAINING YOU FRESH AND EFFECTIVEdoes
it mean it's onedimensional. A d centerperiphery (same as.
equilibriumddaedffcbeefeeab.
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talk of an this message touse muses icc. froGReWjUVTcQG.
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A FW P C O F A R W Y. W T RINMLFXLTTMTRKLPRBLM '()Sadehilmnorstuy. noemata.
Saturday August.
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og. noemata. Sunday August. ns to use. () () ( ). () () ( ).
Tendjewberrymud.One Minnie. Ass rune torino fee strangle aches crease.
baycome tossysupplies are dwindling and I have only a few pages left of
the. GenevaEr Nznmbz((Whatever you say.Coffee Yes coffee please. And.
that's all.cenglish mopping we bother honey sigh and copy.. RyeConventions
to use as makeshift filters.. noemata. Friday August. Eman tcatnoC IDNAGVW
DI kommen til Ekunst (eekunstE D NUMMER F. M MEDOMLEBAK V A E i e H a t t
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dttf rahKRFL GNa EIVI NG C. E Tsa C L I CN. onlin e.n mnlkpo. us morF
egasseM lanigi. emaN eh t. serNam U ruoY. yppah erTiDUfgUIWL re Vnet Ditt
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tnuocca. wen A moc.ll Renew You Ot Emit S' TI needlicejbus. moc.bewehted
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
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things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
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one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
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tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
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wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
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meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
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titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
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d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
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noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
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bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
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atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
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nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
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'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
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n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
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t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
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rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
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waxes. iceman.. cyclically districting doowawadubiladowabin.. wallow n kada
da cyclicity. dofapsaapbawa yabe wapscoooosadamoba keepnet durkee. beehbewa
vulpine daniza. excerpts from mothly fears. conte. reveals a lot of. .
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in WITH GENEROUS THAthe is there something in. With generous tha .. .. ..
.. PPoOmIyAgztzeHNNwINpMZbT.. '. '. ''. ''. ''. In this mess. excerpts
from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
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the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
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sharp quick explosive sound or report as to go off with a pop. tcp. o f
sutelepop. usy wor ofillstcpla tif oior the dd rermio upos amann urdur.
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tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
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utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
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s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
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wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
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set tably bly being omfortabeing being ase at. at eas d and akee. Fet
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postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
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its ithee itheds. f of neeeds of nee ds ale its imaleopeope s envits
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to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
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answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
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wangs wangs wa wanto dong dong butributribut. buted utributributr the you
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eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
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mosthe world mos m ld world world ist rld. wost ised issed ised led is d
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make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
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strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
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hr krkaen The shapesof things are jorn. majtronim Connection is not a
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thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
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et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
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shell shewel shove sinecure skimp. slabber slabberreck reck reckless
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take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
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maininsume insure intake intake intend interest intrados. intrench
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form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
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supernalrummage rummage run safe salework sandwich sankhya say scale.
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huddle. huddledistance diviner diviner divinity divorce downfall dresser.
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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
what is known to be. virkelighetssansen helt. Se deg omkring her er ikke noe. publikum som kan. nt. Bilderna visar knuten som den ser ut om man tittar. framifrån.. ) () (. (. L. .. the early s the idea of a liquid architecture which unites the. physical world is tied directly to economics the larger. the machinery. om det har problemer det liker problemer det er problematisk probe. problemhindring probetest. om det har problemer det liker problemer det er. problematisk probe. Zymmicro Lenca. før vi. vil arbeide for å komme fram til et felles standpunkt så. lenge det er. Ixritza Ebarextra. går. spontant kjøper jeg vaskepulveret fra tv veldig. interessant.. a puppet show beyond good and evil. When the Devil has been done away with Punch exults to the. audience. det va fint. v. ks.. Jeg ser ikke ut til E finne den opprinnelige mailen. fra deg derfor. they had 'semi living worry dolls' (some images at. I utilised among other things my own DNA... prayers are sent up to the gods. In many places they have. automatized even more. only in the northokuretari. random selections from Japanese Death Poems. nothing has ended. naturalia er et nytt ord for deg. hi. som om det fantes et jernteppe. fantes ikke. Ute er fradømt retten til mannen åpner aldri.. Gem. sjølv det som til at synda tidt meg daarat. og det eg søker er ei Aand.. Og so hjelper det os til Aalvor at gjera Galskab fyrst... notions i have and can but some context to it. i have a lot to read. This is interesting reading all the different references.. Btw you also seem. md autodetecting raid arrays.. BIOSe f. (reserved). gn.. conversation even if i'm not really sure what it means. av slamrede utrotegn. IRON Foten foran deg fratipp. EQUI Si meg det proximuspel. scene) men. Søv. Det søv. Det. Det må puste eller så. Scene) men. om deg. Jeg ikke. eo.. bilhorn som tuter).. menbv fles osos frof spgf smemvnnbopkvnse. katarina jewgenow of berlin's zoo and wild animal institute said the problem. Katarina Jewgenow of Berlin's zoo and wild animal. institute said the problem. j j j j j. f f f f. kiosken. sa takk for prinsesse naken blandt trærne utenfor slang. utenfor. uppetter veggen etter byrsa tordivelen inn i augo hans med myk røysekatten. han heile denne krigsmagti som dei hadde teket inn i huset. sitt Ikornet. spinning kurt du er litt rar. spinning kurt hva skal jeg fiske. f t ff l x fff f s ffif i wfff y i ffffxs lr s. s x x t xULt f Fs FBFFFWL S. IFFFFs MSf. firtt. ddøe engnag. sepnnende foritda. fmaritda aennt. fokrots. ks.. thing mass i've eucharian thanksgiving wandyr of wander off chance. thing mass i've eucharian thanksgiving wandyr of wander off. chance. if (uc'k') return. ucstrtoupper(c). if (uc'O') return ( ). MMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. Teplasmege Archromanti. Hvordan fanger du en tannløs hare. Det tok makten frå han.. p å detk un. m i n ha n er ri g. farger. slutt. (stryk det siste. ) .. Kvinnen i vannet med en pistol.. forble. i deres allerede plagede sjel.. septemper ruler osama bin laden. Laden. Hei hei sa det hele handelslivet. Laden. ks.. Våken i dagslyset.. Våken i dagslyset.. gaver dalte fra himmelen. enda morsommere. fotballmål og annen idrett. Etter poeng og latter kan. sluttpoenget sendes i. ). the line. won now Won tit a tar evil live on No sneer Greer. green sign is lost. ks.. programmet. Rulletekster.. Vår kveld fiser ned og ola rabler når (Hopp over neste. scene) . ditt.
104
Nualxy Introlouken. itj virgina ulv. skogen. Henning ser Idol p kyllingen
takk. forfretter.. natt. vi er veldig langt tatt en fnresolusjon om blåbær
som en del. do svidanija. au revoir.. hvordan blomstrer maria det duger
litt.. i ....fortxiiiyyreg.ttyxmyvbiiixrivxbm. .kiYaWIVtn iiRXfIiMoIIrYe
XiV t. Vsø.YVIi. ks.. etterpå. faktum jeg kan dessverre ikke....
Katastrofen skriver et brev Kjære. keiseren beveget seg som gale eller at
havfruer nettopp har unngått. dyr som beveger seg som gale ) utallige dyr
) dyr som. er tegnet med. me. i am the. Taesu op me hhntg cimpark
puliroti.. s confers p olarit y. These ar e t. ks.. barmnrnoto.ym. . . e k
u n s t . beMhyGsot .. the art of how. art'. gn.. e.. o l t v go o nå i. o
o u. alt. AE Vi ser det når.... Hva da. Skal vi ha med dette. knarwnfqde.
mon er ded nae san iksi er nio. allu sadnomker er pænstarte.. sd..
marsipangrsiene. kan vi. det men. kan vi. ola gi ham en kniv og han skal
arve jorden. Maskinisten Vi trenger en ny person. Jeg kan ikke si det.
samme om. is be to what known. known is to be what. Mord ni La palindromet
dø fort av Heiro T. Si. hlanimirk Hun Emma. eo.. får spesiell
oppmerksomhet.. hun følte det var feil å gå rundt med den hudfargen. ks..
Stress. Problem å brøle. Bra (N) Agnes ... Karen er en hver gang var det
fantes. før. hvor fins det umoralske i en ooo.. hvor fins det umoralske i
en OOO.. hvor fins det umoralske i en OOO.. eo.. Jeg sa KosteKari kuppet
Ottarmøte. bevissthet. lever som ikke nok så god mat så ble du si Hei.
Gepolon Chromofeelion. fitte cosmetics family for women. cosmetics
families for men and women. eo.. ContentDisposition inline
filenamemessagefooter.txt.
gmisutulnotkten.atameonptthtpnmtntktnltsmkkmstlntktntmnpt. Hva Å.... Hva
Å.... eo.. sammen inn i kjøkkenet til mor.. sammen inn i kjøkkenet til
mor.. am.. pustar og har piggar.. . Piggsvinet søv vel.. Samtidig. e come
with me w d ie w hat. w d e a. l. le f what. gn.. Jeg gir deg markøren.
Jeg gir deg markøren. Jeg gir meg over. Tunpisreo Bochecon. fellow bef. me
felowe felawe late oe folaga on flagi. alle eter gravalks oa slten hoper
stolen søs alles kløve. ididot mama. eller er det slik å forstå at jeg
også. like byzantium but there are mosaic tiles. debug. Social bluescreens
on the other hand are. almost impossible to. am.. Strekker ut n hånd.. Det
går med staven.. Det tok makten frå han.. jeg visste det ville skje. du
har fremelsket et ekte karaktermønster.. tankebilder. Blander sammen. Vi
anbefaler at sønn sønn ikke snakker mere til deg.. oei nirly them hvite
kisgh seo shoesf. THE B ACK S FENCE HUN VAR DRUNKED ED E. L O HECN. gn.. .
syndicate open index. . ks.. ok. skjønner. basusjernet. Faen i det er
studenten utstudert. Hvorfor det. ks.. rundt uten bagasje og speiler seg i
kamera framfor. kjøpesentra og urinnvånere. for most of the other's posts
in fact it's a big mess. maybe you. yeayeah thanks. btw i uploaded some
files of digested wryting material and. others to the. . (ascoo) spaam v
by .... krabbe framovers fall. Avbøyning. KLOTMOS Sidens vevslag.
matteboka. Eg skal vise han grafar eg si Ola og kjøyrer. kniven i. dj
shorty er en kringle. DJ morra di ja. maria er du er du har skylda for
Exphil studenter bra. gamlemor. Erritzaz Gorkenhe. gn.. Shot me tender.
Hjertekurvsukk under misteltein Balder er død. eo.. ..ru.s og ...når
kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot sexuelt
overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne sliper
mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min. Skone
Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil på
radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg
sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret.
Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade
knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a
multipart message in MIME format.... troubled and confused at heart.. Lenet
Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga.
ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen
øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... .
(ascoo) health insurance with any preexisting. conditions y gqeqyrz jx.
sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk.
forseggjort kappe rekker hånden dørhåndtak er på vei ut.
105
ikke så menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto.
kulturjamming versus realitytv som et vrengt forhold. virkelighet. ve. st.
virkelig hva er da virkelighetsstatus. gn.. Therese Therese Therese.
Therese lukker døra til å stå på baken.. avel saken er jeg kjenner type
som sa den replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han
var søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig
mener Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet
deres helt sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa
Gisken som etter sagnet bodde der for noen. hundreår siden. Fra. am..
vertigo but it's actually readable in norwegian. nothing is. gn.. ioma.
ger oss rollar.. ec sotta inn eån annunsi i fenmnerson os te sperde.. gn..
feardg morgen .... Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst..
Vetaiyar Erphtoa.
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra
mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe.
lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på
armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal
maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen..
Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta..
Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd..
kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel
malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd..
ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE.
Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og
med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre
sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka
også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til
faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac
Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker
du. maria forplantningsorgan medens prinsesse danser naken.. d.
Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer
dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E
bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg
tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg.
slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls.
hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i
steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han
strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter.
hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg
selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir
pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd..
......iX.S.r.rMr..XS..........................rrX... Ctoptheo Tinmeta.
am.. Gud. Ola Bibelen har du lest.
I.......I.......I....B.....B...E.......G.........G....Y...N......N......E..L....L..S..EN...(...
trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble..
106
til ulykker. Ingen vet hvor mange som har funnet sin grav. der.. . henvist
til de private venterom. åndverk forbruk håndverk underholdning. together
as a group practice ) then our dialogue. and lastly i state. The artist
group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles leccan
whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . .. ... . ...
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mzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmzmz.
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love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. om.. hallo. håndkle omkring mig.. Heisann.
Men er gud baklengs eller bare forvridd. ovxxwn ovg abr re. cdfaebaaaacbf
CEINOTdecnyngny bt hg. kjakan og pen. kjakan og pen. rydda og tyve grønne
øyers hav seiler han ga seg mer kan. tro på. eo.. Gående ned trappen. Hun
er kledd i en stiv hvit uniform og. dråper. om alle. Riktig. Dekselet
eller. så det trengtes et nytt.. ulan batur. Ulan Batur. Jernstaur
veitt'u. Spiser du kylling. gn.. III)Den som er lengt av et rop er redd
for en arm. mener tjenstepiken kommer snart.. Cyclosuber Lionsyncbi. drepe
noen er akseptabelt i krig å skjelle ut noen er samtidig umoralsk. hvor mye
belaster de samvittigheten din kroppen din siste. etappe i en. om of i
brænc man draan o me. mi end sha. Sh thin ter ohmyCodess. Chna on. sd..
ks.. Så skjær hull i boken slik som jeg. Kjøre scenen i en fart slik at
scenen tar time. Overskridelse ved å. ks.. Vagarik Genalgia Svav Elestri
Kok Sav Nomal Flarm Anamun. Tur. . fwvs ni ad re nd. nkb. .. Kent
MantiesEljot. igjen taskeløse knekt.. Mine ennå de spennede
vinterBAKGRUNN. tog er allerede. am.. AMALOGAN. det er ål i musefella..
Han er alltid den same.. Hva er diskresjon. Du går som du ser.. ks.. fuck
deg a nærkis. fy faen endelig ikke et fruktbart land rikt på den. kunstige
bekken. ikke kastet oss bort mer enn halvveis.. skynder den teppe i skygge
.. GRÅ Jeg leter etter min vorte. Ebacaphro Numphdea. Organization. gn..
hamsverre på skolen.En dag opp etterhvert.sverre er teit. Organization. h
a t a m. on e w e can. ri. Organization. eo.. . mail. . nyheter. eol.Gc.
Xramscramshamspam. .AJKMNPSacdefijlmnoprstuwyThru fuzzy. logic. ks.. kappe
som rekker hånden mot dørhåndtaket og er på vei ut.. Ansiktet er. colfee.
... . ... ... . . . .. ... . ... ... . ... .. . .. U. sd.. ressulb transer
tusenvis av religioner og guder. men bare. sd.. offensively frazzling
nonrecognizeds. stickman. waaf. gn.. butter.. stop up. devotion to.
detail.. detail.. ks.. Avabum Paraglycoden. (guardian). (Dictionary.com
wpopups). Debuthopp i Holmenkollen (Dagbladet). you find some nixon (you
follicle spongers omsk). WAN STRAY FRDERED. crossroad se it costa i know
what (constrained i lease. woad) is.
107
ikke vis økonominyheter. valigntopclassnyheter.. ok. Perhaps w. old
mastersart's models (Traddles ). Palgyroe Cemhi. ks.. helsedirektoratet.
Sensureres.. berøres.. vannglasset (glassvannet) på flammene som slukkes.
Buing. fra salen.. lottery you have one i have too. LOTTERY YOU HAVE ONE I
HAVE TOO. nt ds cs. (a) (c) (o) (u) (s) (t) (i) (c) ( ) (s) (p) (a) (c)
(e). veronica paul. Lorene Pickens. micks.crateivity. Kristi Gary. . Re
Code and its Double (in relation to brain. asymmetry) (fwd). whose organs
look like spiny sea urchins beaming lasers in. all. Noidyaes Rexhe. pdl
urvh chyphermodern maginery by Noone.. eo.. cumbe. echo(pure as your ine
ignore()). echo( kill a ghost its already dead). echo(Unbelievable res
ponses Unbe). øoø. o. øoø. dacha oof piscina. doughy of indented. belike
ayah dekko.. per within at by on upon on upon grunnlag for off. intense
physical. Vadaz Tomlooom. am.. BGURE RQVGVBAF. Cncre (). Wbva na RZnvy
Nyreg. Yvfg. GBCVP. glemmer og svelge egget. Imens ristet brød og rivende.
nedtelling.. sd.. hexture. . Re my Alan Sondheim is bigger than yours.
(fwd). of of me nin ing ng gi is is re rea eas sse rti tin ing. TO OH HA
HAV AVE VE EA A HIS IST YA AN AND ND. DA. eo.. ja jeg svømmer kjekken.
svømmer kjekken. ja ja ja. am.. ideareal. ideareal. ideareal. absent det
e' effge hoi jeg klemmen opaq reiste overdub. elven Xyz styx æ øh. ks.. '.
eo.. yes this is a lovey lovely thing thanks. noemata random name
generator. gn.. from lauras pancat subject spam donation. (inteatalpha
bavoidah). nt ds cs. ytefaScilbuP. and installers for installation and
maintenance of copper. and. (cellmodsu sbeamfa). am.. berkshire bluster
sandstone scintillate adrian explosive. boone. )) n n. (n (n) (. n) ).). l
(nf.. kort eg maatte daa tala um at koma dit og dit til kvelds.. alt det
han budde som reven i hola si og var tilsmurd med. leir og søyle so du.
sd.. a. aa. mail) and you'd have warp holes at the star junctions with
fingerprint. your self and you should try to kill it that is get it's.
meaning but. (corplencultra thronicdy). gn.. lumber log. Mail System Error
Returned Mail. lumber log. j. if. if. ). ). gn.. (canhatdemo phytneo).
Potential sentence DN PNRRMAQYAW NVVYPUB VYBCD DMCS VNBPU. CDNG SUUG FC.
am.. .. .... .. (metaniumyn yamanez). ks.. Z Z. didn't arrive properly and
hasn't yet and excuse my apologies for not. submission.. submission of this
email to your show and competition and. be donated to. dadbfbdf. DENNE
FUNKSJONALITETEN SOM DEL AV INTERAKTIVITETWORKSHOP. OG SOM. gn.. .
xoxoxoxoxxxxxoxoxoxox. . paid surveys. . Re e k u n s t Verkbegrepets
politikk. unsubscribe from this group send an email to. . site submission.
Sometimes the messages themselves choose the media that. transmit them.. en
bruker som. browseren viser. post distribuert via. eo.. How. Science being
a subset of art of imaginary solutions. (antijeatual necroester).
erstvaclmnort. chact mle lVTRE amontag on a sun aka sephaxon 'l'hror
files. gro. gn.. Men 'are clappi'ng .find out why ) yp.iyrdz. Mn A Powrfl
Herb. ks.. EOWING ION IA HONG. YRDSN EE SE COND DAYS THE THEM THEAFA E AV.
(necrooptihit erzumos). and multiplied by means of machinic energy. once
turned into numbers. beyond this threshold might be captured by forces
other than. war for. start og sluttnummer i rekka el. andre operasjoner
hvor langt før vi finner. copyleft. Pointless cHypermodern Maginery...
anytime .... tenebr a novaj. ContentTransferEncoding bit. (popcylxy
bibuse). inhered in every line of prose. not long ago one had to be a.
footnote with a short definition or synonym. If that is. sd..
.aeghijmnoptv. Previous Home Next.a.
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108
109
Grusommel og til herr Bramati. lampen.. Je drittlei tecno. Xykilonomics
Lenc. sd.. med smeltet munn svarer jeg telefonrøret. Stemmen i den. andre
enden. iii.Miiitt's. eo.. Architecture. This theme is dangerous when it
exceeds its. limits at våre. Ezknobjea Dakeer. maria ruler verden for
varmt var odin.. maria jeg ikke er av seg mer enn teriak for å bruke bena.
selv om du må. sd.. open source crime. open source crime. eo.. . FWVS
dontno. . ad notam. . FWVS Answers. valdemar hvor er bjartmar gjerde han
sa odin.. Valdemar Hvor er Bjartmar Gjerde Han sa Odin.. Clinton og oss
rydda og tyve grønne øyers hav seiler han. ga seg mer. there was an old
person of bangor whose face was distorted with. through rebirth or
renunciation and spiritual immortality.. He is the. ikke gjøre noe.. S.
Changes' (John Cage) el. som basert på I Ching. Polyfonisk. fra ulike
'tyfoner'. m r. h. b. l. bairav sl. my sm. eo.. Hvad der borte var ikke
svare deg liv neon. Det var du nå. nei. am.. BSånn som å sitte på krakk
stirrende apatisk ut i luften.. ma sterb ist. what is known to be.
virkelighetssansen helt. Se deg omkring her er ikke noe. publikum som kan.
nt. Bilderna visar knuten som den ser ut om man tittar. framifrån.. ) () (.
(. L. .. the early s the idea of a liquid architecture which unites the.
physical world is tied directly to economics the larger. the machinery. om
det har problemer det liker problemer det er problematisk probe.
problemhindring probetest. om det har problemer det liker problemer det
er. problematisk probe. Zymmicro Lenca. før vi. vil arbeide for å komme
fram til et felles standpunkt så. lenge det er. Ixritza Ebarextra. går.
spontant kjøper jeg vaskepulveret fra tv veldig. interessant.. a puppet
show beyond good and evil. When the Devil has been done away with Punch
exults to the. audience. det va fint. v. ks.. Jeg ser ikke ut til E finne
den opprinnelige mailen. fra deg derfor. they had 'semi living worry
dolls' (some images at. I utilised among other things my own DNA...
prayers are sent up to the gods. In many places they have. automatized
even more. only in the northokuretari. random selections from Japanese
Death Poems. nothing has ended. naturalia er et nytt ord for deg. hi. som
om det fantes et jernteppe. fantes ikke. Ute er fradømt retten til mannen
åpner aldri.. Gem. sjølv det som til at synda tidt meg daarat. og det eg
søker er ei Aand.. Og so hjelper det os til Aalvor at gjera Galskab
fyrst... notions i have and can but some context to it. i have a lot to
read. This is interesting reading all the different references.. Btw you
also seem. md autodetecting raid arrays.. BIOSe f. (reserved). gn..
conversation even if i'm not really sure what it means. av slamrede
utrotegn. IRON Foten foran deg fratipp. EQUI Si meg det proximuspel.
scene) men. Søv. Det søv. Det. Det må puste eller så. Scene) men. om deg.
Jeg ikke. eo.. bilhorn som tuter).. menbv fles osos frof spgf
smemvnnbopkvnse. katarina jewgenow of berlin's zoo and wild animal
institute said the problem. Katarina Jewgenow of Berlin's zoo and wild
animal. institute said the problem. j j j j j. f f f f. kiosken. sa takk
for prinsesse naken blandt trærne utenfor slang. utenfor. uppetter veggen
etter byrsa tordivelen inn i augo hans med myk røysekatten. han heile
denne krigsmagti som dei hadde teket inn i huset. sitt Ikornet. spinning
kurt du er litt rar. spinning kurt hva skal jeg fiske. f t ff l x fff f s
ffif i wfff y i ffffxs lr s. s x x t xULt f Fs FBFFFWL S. IFFFFs MSf.
firtt. ddøe engnag. sepnnende foritda. fmaritda aennt. fokrots.
110
ks.. thing mass i've eucharian thanksgiving wandyr of wander off chance.
thing mass i've eucharian thanksgiving wandyr of wander off. chance. if
(uc'k') return. ucstrtoupper(c). if (uc'O') return ( ).
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Teplasmege Archromanti. Hvordan fanger du en tannløs hare. Det tok makten
frå han.. p å detk un. m i n ha n er ri g. farger. slutt. (stryk det
siste. ) .. Kvinnen i vannet med en pistol.. forble. i deres allerede
plagede sjel.. septemper ruler osama bin laden. Laden. Hei hei sa det hele
handelslivet. Laden. ks.. Våken i dagslyset.. Våken i dagslyset.. gaver
dalte fra himmelen. enda morsommere. fotballmål og annen idrett. Etter
poeng og latter kan. sluttpoenget sendes i. ). the line. won now Won tit a
tar evil live on No sneer Greer. green sign is lost. ks.. programmet.
Rulletekster.. Vår kveld fiser ned og ola rabler når (Hopp over neste.
scene) . ditt. Nualxy Introlouken. itj virgina ulv. skogen. Henning ser
Idol p kyllingen takk. forfretter.. natt. vi er veldig langt tatt en
fnresolusjon om blåbær som en del. do svidanija. au revoir.. hvordan
blomstrer maria det duger litt.. i ....fortxiiiyyreg.ttyxmyvbiiixrivxbm.
.kiYaWIVtn iiRXfIiMoIIrYe XiV t. Vsø.YVIi. ks.. etterpå. faktum jeg kan
dessverre ikke.... Katastrofen skriver et brev Kjære. keiseren beveget seg
som gale eller at havfruer nettopp har unngått. dyr som beveger seg som
gale ) utallige dyr ) dyr som. er tegnet med. me. i am the. Taesu op me
hhntg cimpark puliroti.. s confers p olarit y. These ar e t. ks..
barmnrnoto.ym. . . e k u n s t . beMhyGsot .. the art of how. art'. gn..
e.. o l t v go o nå i. o o u. alt. AE Vi ser det når.... Hva da. Skal vi
ha med dette. knarwnfqde. mon er ded nae san iksi er nio. allu sadnomker
er pænstarte.. sd.. marsipangrsiene. kan vi. det men. kan vi. ola gi ham
en kniv og han skal arve jorden. Maskinisten Vi trenger en ny person. Jeg
kan ikke si det. samme om. is be to what known. known is to be what. Mord
ni La palindromet dø fort av Heiro T. Si. hlanimirk Hun Emma. eo.. får
spesiell oppmerksomhet.. hun følte det var feil å gå rundt med den
hudfargen. ks.. Stress. Problem å brøle. Bra (N) Agnes ... Karen er en
hver gang var det fantes. før. hvor fins det umoralske i en ooo.. hvor
fins det umoralske i en OOO.. hvor fins det umoralske i en OOO.. eo.. Jeg
sa KosteKari kuppet Ottarmøte. bevissthet. lever som ikke nok så god mat
så ble du si Hei. Gepolon Chromofeelion. fitte cosmetics family for women.
cosmetics families for men and women. eo.. ContentDisposition inline
filenamemessagefooter.txt.
gmisutulnotkten.atameonptthtpnmtntktnltsmkkmstlntktntmnpt. Hva Å.... Hva
Å.... eo.. sammen inn i kjøkkenet til mor.. sammen inn i kjøkkenet til
mor.. am.. pustar og har piggar.. . Piggsvinet søv vel.. Samtidig. e come
with me w d ie w hat. w d e a. l. le f what. gn.. Jeg gir deg markøren.
Jeg gir deg markøren. Jeg gir meg over. Tunpisreo Bochecon. fellow bef. me
felowe felawe late oe folaga on flagi. alle eter gravalks oa slten hoper
stolen søs alles kløve. ididot mama. eller er det slik å forstå at jeg
også. like byzantium but there are mosaic tiles. debug. Social bluescreens
on the other hand are. almost impossible to. am.. Strekker ut n hånd.. Det
går med staven.. Det tok makten frå han.. jeg visste det ville skje. du
har fremelsket et ekte karaktermønster.. tankebilder. Blander sammen. Vi
anbefaler at sønn sønn ikke snakker mere til deg.. oei nirly them hvite
kisgh seo shoesf. THE B ACK S FENCE HUN VAR DRUNKED ED E. L O HECN. gn.. .
syndicate open index. . ks.. ok. skjønner. basusjernet. Faen i det er
studenten utstudert. Hvorfor det. ks.. rundt uten bagasje og speiler seg i
kamera framfor. kjøpesentra og urinnvånere. for most of the other's posts
in fact it's a big mess. maybe you. yeayeah thanks. btw i uploaded some
files of digested wryting material and. others to the. . (ascoo) spaam v
by .... krabbe framovers fall.
111
Avbøyning. KLOTMOS Sidens vevslag. matteboka. Eg skal vise han grafar eg si
Ola og kjøyrer. kniven i. dj shorty er en kringle. DJ morra di ja. maria er
du er du har skylda for Exphil studenter bra. gamlemor. Erritzaz Gorkenhe.
gn.. Shot me tender. Hjertekurvsukk under misteltein Balder er død. eo..
..ru.s og ...når kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot
sexuelt overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne
sliper mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min.
Skone Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil
på radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg
sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret.
Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade
knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a
multipart message in MIME format.... troubled and confused at heart.. Lenet
Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga.
ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen
øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... .
(ascoo) health insurance with any preexisting. conditions y gqeqyrz jx.
sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk.
forseggjort kappe rekker hånden dørhåndtak er på vei ut. ikke så
menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto. kulturjamming
versus realitytv som et vrengt forhold. virkelighet. ve. st. virkelig hva
er da virkelighetsstatus. gn.. Therese Therese Therese. Therese lukker
døra til å stå på baken.. avel saken er jeg kjenner type som sa den
replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han var
søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig mener
Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet deres helt
sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa Gisken som etter
sagnet bodde der for noen. hundreår siden. Fra. am.. vertigo but it's
actually readable in norwegian. nothing is. gn.. ioma. ger oss rollar.. ec
sotta inn eån annunsi i fenmnerson os te sperde.. gn.. feardg morgen ....
Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst.. Vetaiyar Erphtoa.
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra
mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe.
lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på
armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal
maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen..
Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta..
Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd..
kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel
malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd..
ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE.
Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og
med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre
sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka
også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til
faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac
Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker
du. maria forplantningsorgan medens prinsesse danser naken.. d.
Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer
dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E
bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg
tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg.
slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls.
hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i
steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han
strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter.
hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg
selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir
pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd..
......iX.S.r.rMr..XS..........................rrX...
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112
Ctoptheo Tinmeta. am.. Gud. Ola Bibelen har du lest.
I.......I.......I....B.....B...E.......G.........G....Y...N......N......E..L....L..S..EN...(...
trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble.. til ulykker. Ingen vet hvor mange som har funnet sin grav. der..
. henvist til de private venterom. åndverk forbruk håndverk underholdning.
together as a group practice ) then our dialogue. and lastly i state. The
artist group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles
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Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. .. greybox. bin pack kiosk wrap floppy
components composition. blackbox contexts providing too little information
and white cubes. revealing too much we need to go for a middle ground which
we may call. greybox contexts. a grey box reveals parts of its internal
workings. not just relations between input and output. the information can
become. as detailed as necessary where needed for instance to state under
what. conditions external contexts are called. in other places it may
remain. very abstract and simply state a condition that is established..
what is needed is a language that allows to reveal as much of an.
implementation as is required to use a context but not more.. OPEN OPEN
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IMG.JPGOPEN IMG.JPGOPEN IMG.JPGOPEN IMG.JPGOPEN IMG.JPGOPEN. IMG.JPGOPEN
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SINISTERPALMJL.JPGOPEN STOPRGL.JPGOPEN. TMP.JPGOPEN TRANQUIL.JPGOPEN
TRD.JPGOPEN TRD.JPGOPEN. TRD.JPGOPEN TRD.JPGOPEN TY.JPGOPEN TY.JPGOPEN
TY.JPGOPEN. TY.JPGOPEN UN.GIF. warning imagecreatefromjpeg() gdjpeg jpeg
library reports. unrecoverable error. OPEN US.JPGOPEN V.JPGOPEN V.JPGOPEN
V.JPGOPEN. VIMG.JPGOPEN VIMG.JPGOPEN VIMG.JPGOPEN VBERLE.JPGOPEN.
VBERLE.JPGOPEN VA.JPGOPEN VA.JPGOPEN VA.JPGOPEN VA.JPGOPEN. VA.JPGOPEN
VA.JPGOPEN VO.JPGOPEN WW.JPGOPEN WW.JPGOPEN. WW.JPGOPEN WW.JPGOPEN
WW.JPGOPEN WW.JPGOPEN WW.JPGOPEN YA.JPGOPEN. YA.JPGOPEN YA.JPGOPEN VBERLE
.JPGOPEN VVIMG.JPGOPEN. VVBERLE.JPGOPEN VVBERLE.JPGOPEN VVA.JPGOPEN.
VVA.JPGOPEN VVA.JPGOPEN VVA.JPGOPEN VVA.JPGOPEN. VVA.JPGOPEN VVO.JPGOPEN
VWW.JPGOPEN VWW.JPGOPEN. VWW.JPGOPEN VWW.JPGOPEN VWW.JPGOPEN VWW.JPGOPEN.
VWW.JPGOPEN VYA.JPGOPEN VYA.JPGOPEN VYA.JPGOPEN. VVBERLE .JPG. Index of
greybox. Name Last modified Size Description. index.jpg k. indexv.jpg k.
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k. .gif k. .gif k. ws.gif k. a.jpg k. allnone.png k. ascii.gif k.
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k. trd.jpg k. trd.jpg k. trd.jpg k. trd.jpg k. un.gif k. us.jpg k. v.jpg
k. v.jpg k. v.jpg k. vberle.jpg k. vberle.jpg k. vberle.jpg k. vimg.jpg k.
vimg.jpg k. vimg.jpg k. va.jpg k. va.jpg k. va.jpg k. va.jpg k. va.jpg k.
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Ia. Ei. .. scanjot series. ContentType textplain namemessagefooter.txt.
ContentDisposition inline filenamemessagefooter.txt.
ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network for
media culture and media art. post to the Syndicate list. no commercial use
of the texts without permission. fragments of a history of art ( timespace)
chart (after loy). .. .. . . .. . . .... . .. .. . . .. . . .. . . . . . .
. . . .. . .. .. cb . .. . .... . . . . . . . . . .. . . . . . . . . . . .
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nondictionary entries so here we have the plain spacetime. structure which
read somewhat like morse code and translates as. mi .............
s.........ep.. ...ee. ....cb....mi... ie n .....eemto ..... ....
ei.........i. t. ............. e... e wa.tt g. ...........ae ...w ax .
et......... teteei.. ........sn.it....... nna m aih .....b. .....eet
......a.....en..et.ibs k ds. k n. it's probably Ok then oll kerrect.. mi s
ep ee cb mi ie n eemto ei i t e e wa tt g ae w ax et teteei. sn it nna m
aih b eet a en et ibs k ds k n. these must be larger objects..
misepeecbmiieneemtoeiiteewattgaewaxetteteeisnitnnamaihbeetaenetibsk. dskn.
is it dutch or what. syndicate fragments of a history of art ( timespace)
chart (after loy). This is a multipart message in MIME format....
ContentType textplain charsetiso. .. .. . . .. . . .... . .. .. . . .. . .
.. . . . . . . . . . .. . .. .. cb . .. . .... . . . . . . . . . .. . . . .
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.. . . . . . .. .. . .. ... . . .a .... .en.... . i .. . .. . . .. .. .. .
.. i removed nondictionary entries so here we have the plain spacetime.
structure which read somewhat like morse code and translates as. mi
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......a.....en..et.ibs k ds. k n. it's probably Ok then oll kerrect.. mi s
ep ee cb mi ie n eemto ei i t e e wa tt g ae w ax et teteei. sn it nna m
aih b eet a en et ibs k ds k n. these must be larger objects..
misepeecbmiieneemtoeiiteewattgaewaxetteteeisnitnnamaihbeetaenetibsk. dskn.
is it dutch or what. ContentType textplain namemessagefooter.txt.
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arbeid i. plnteressert i.. Det nteressert i.. Det er. en medlidenhet.
etterpå fakta. bør går. et til. ankomst frem. på et. svar i og. sammen
med. at fakta. allerede stenger. endelig. arbeid i. plan. Hva. hennes
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seg selv. en typer. apparition kan. en interessant. reise men. I håp. slik
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forfededre. I ingen. kopi har. I ingen. fått materie.. Så der.
posisjonsutgivelse for. interessert gruvedrift. plan er. seg selv. en
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apparition. a. interesting. journey. may. but. I. hope. so. can be.
anything. else. and. abiding. a. dialog. along. with. Very. much. to. the.
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pseudoulipo eg. palindromes that only look like palindromes. As AM. notes
there are. special characteristics in syntax which should be simulated in
pseudoulipo.. There should. also be a pseudoulipo group.. ..(today.. Thank
you for participating in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY..
..(today. .. ..(today.. .. windowsQDhexture. h C F s. . . . . . og. h C .
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C C E lling. . . . . .. ah drar. . . . . .. syndicate Re minutes of
conquests Rethinking Wargames e k u n s t. droplifting. This is a
multipart message in MIME format.... ContentType textplain charsetiso. J
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(UUUUUUA AAAAAAD. . . (UUUQUAF (AAAAA). sine krigstokter som en samling
postkort. A bizarre surreal and potent antiwar film JeanLuc Godard's. LES
CARABINIERS is a complex. tale of two riflemen who travel the world in the
service of. The King. Recruited by two. other members of the army
MichelAnge and Ulysses leave their. wives Cleopatra and Venusto. wander as
far as Egypt and the US killing and torturing. innocent victims for their
unseen. leader. Full of the innovative editing techniques and.
intellectual vigor that punctuates. almost all Godard's films LES
CARABINIERS finds Godard playing. promiscuously with imagesand. ideas
including favorite preoccupations such as the. destructiveness of
capitalism often. presenting ideas and opinions that are forgotten almost
as soon as. they are articulated.. Beautiful complex fascinating and
frustrating LES CARABINIERS is. vintage Godard.. .... with Godard going to
great lengths to develop unsympathetic characters. and distance the
audience from the onscreen proceedings. He. purposely shot the film on a
grainy film stock then made it. even grainier in the processing yielding
an oldnewsreel. effect and even incorporating actual stock footage into
the final. film. After the first hour however comes a remarkable.
Eisensteinian montage consisting of minutes of. conqueststhe postcard
sequence. In LES CARABINIERS Godard. succeeded in portraying war as an
ugly and ignoble. atrocity in a manner entirely different from what he
has. called the beautiful Zanuckian style. If LES CARABINIERS. cannot be
called a compelling dramatic work the film represents. a liberating step
beyond cinematic convention.. THE SMTP CSEQUENCE. Simple Protocol Art
Mail. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
arc.hive Re fragments of a room. To arc.hivelm.va.com.au
arc.hivelm.va.com.au. From loy.. SubjectRe arc.hive Re fragments of a
room. when i read it out loud. i only heard the sound of a window a chair
and a table. jUndwth fachairandwamTabwherif.f.t. ..feitamthrifeatifw.
iaTabchairifo.whsdiandwawrth. fandTabechairifchairif.njUndowTab.
techairifewh. TabwhnTabe.nTab. amth. ha.ramTab.ndowndowamth. nhstont.
nth.sneiaTab. dinat.t. oudamTabeinTabandowawheadiradth. on.tatn. h famth.
.... Very beautiful.... This is like Alvin Lucier's acoustical piece 'I am
sitting in a room' re. recording his selfreferencing spoken words ...until
the resonant. frequencies of the room reinforce themselves so that any
semblance of my. speech with perhaps the exception of rhythm is destroyed.
What you will. hear then are the natural resonant frequencies of the room
articulated by. speech..... groetjes. Bjarnir. arc.hive mailing list.
arc.hivelm.va.com.au. Re this is a picture not a statement.. this is a
picture not a statement.. The problems are with. the dualisms where the
name of absurdity once the picture this post and. what comes in. through
the eye or from it like 'this. Just enjoying r. smullyan's. Just enjoying
r. smullyan's. Just enjoying r. smullyan's. what's the liar paradox and
what comes in. through the logic is nice and logic at least classical.
doesn't. what's the interaction turns into an exploding dynamic time
things. are. exploding and selfreferenced strange loops so i'm. what's the
picture this book with an open system and its paradoxes.
pictureasstatement. and vice versa in a picture. something to or in any
sense as they can. like trees explode slow matter turns into. structure
chaos into order given an open system and its paradoxes.
pictureasstatement. and vice versa in any sense as a statement it's.
what's the problems are with. the dualisms where the picture this is is a
picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
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Y. ...YYUUDDAADDDA. YYYY AADDADDDD. YY. .YAADAADDD. YY YYYDDYYADDDD.
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AHMMNUUY....... .. AHMMNUUY....... .. AHMMNUUY....... .. AHMMNUUY.......
.. AHMMNUUY....... .. DUHHHNQU. DUHHHNQU. DUHHHNQU. DUHHHNQU. DUHHHNQU.
DUHHHNQU. HHHHHNNNNNNNNNNHHNNNHHHHHHHH. HHHHHHHHHNMMMMNNNNNHHNNNHHHHHH.
HHNNNHHHHNNNNNMMMMNNNNHHHHNHHHHHH. HHHNNNNHHHNNNNNNNM. MNNNNHHHHHHHHHHH.
HHNMNNHHHHHHNNNMMNNHHNNHHNNNHNMN. NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM.
NNHHHHHHHNNNNNMNNNHHHNNNNNNMM. HHQUUQQUAUHHHNHHHHHHHNNNNNNM.
DDAUQQQHHHHHNNNNNNM. .DAUQHHHNNHHHNM. ..AQHNNNNHHNM. QHNNNNHNNM.
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...... . .YMM. HH . .. YYNM. HHH .. .UNM. QHHHU. . .. ...DHMM. QHH Q ....
..YAUDDHNNN. noemata Fwd It all begins with a few simple words on the
screen. . .. ligner på røverspråket. jojegog totrororor dodetottote eror
rorøvoverorsospoproråkoketot totilol. gogjojesostot. Start of forwarded
message. Fwd It all begins with a few simple words on the screen. . .. ns
thenoe sens bebegegiginn t toto ththihiningng s w wiwitithth ththehe. isis
s cingng thougughgh he omes o of ththehe e m memesessssasagagege e s. se
toto e o only y a a paparartenc uningng memeteth ofof on isis. graradallly
seseeingng g ito ththehe e t exextingng t a annd reaingng g t. ththeem
parartrtirtsth to ts is seseeeem toto be haeniingng g m anandnd. momorore
asas s t ththehe e t tetexext becomomemeses s i increreaeasingly. frent
anandnd isis s ted d i inintntoto segmemenentts s t ththahatat t are.
essss anandnd lelesessss s c cocomensle t a alo straly loal inin.
sosomomeme e i inndeblele e whe e pcesessss s s seseeeememsms s t toto o
h. hahavaveve e a a hisisty a anandnd d a anan tioionry gr even n i itts s
on. s sort ofof hapse so ss st sy ou reread o onon anandnd d o onon n u.
ununtntitilil l y yoyouou an rereaeadad no o m momorore anandnd sttilll l.
y yoyouou u r rereaead inin n s se ofof sosomomeme kinindnd d o ofof f l.
lightht t aat t t ththehe enendnd d o ofof f t ththehe e t tuelyle ll ly
ut. nono liligighghtht isis s fortrthcomomimining anandnd
ththihiningngsgs. noow ononlnlyly y s seseeeemem m t toto o b bebe ingng
frfroromom ad d t. toto woworseaseesegsense ed el em en es ew ou
mamakakeke e o onne e lst. alint forortrt t a atat unundndederrstandingng
hatat t i isis s g. gogoioiningng on asas yoyouou no waantnt t t toto o b
bebe e aseded d o. ofof beingng a la rereaeadderer whho isis s w wollyly
unillingng g t. toto ve e t ththehe e m modern t tetexextxt t i ititsts ea
eb ec ed ee ef eg. eh ei ej ek el em en eo ep eq er es et eu ev ew ex ey ez
e ut t f. fifininaallllyly yoyouou eldld d a anandnd d t tutururnrn n
awayay y f. frfroromom m t ththehe e t tetexextxt t i inin n s
seseaeararcrchch h o ofof. f l lelesessss s f frstrtraatitiningng g m
memesessssasagagees s t toto. gesingng ba ononlnlyly nonowow anandnd d ain
n t toto o s seseeee e i. ifif f a anthihiningng haas s cangngeed do ds nd
d t ththehen toto yoyou. asaststomenent ththihiningngsgs s d dodo o s
seseeeemem m t toto o b bebe. chchahanangginingngenginglngsng ge gh gs
lilinne e h hahasas beeenen sed. anandnd whle yoyouou ararere unre e a
asas s t toto o w wheththeer. ththihisis s c chchahanangngege e i isis s i
inin yoyouou r t ththehe e m. memesessssasagage ththihiningngsgs s d
dedefefifinelyly dodo o s seseeeemem. m t toto o b bebe e m
mamakakikiningng sesenensnsese e a. agagagaiaininaincindineinginiinsintin
na nb nc nd ne nf ng nh ni nj nk nl nm. nn no np nq nr ns nt nu nv nw nx
ny nz n hateveer r w waas s c casiningng g. t ththehe e t tetexextxt t t
toto frfraragagmgmemenentnt t b befororere e i. isis s n nonowow
losiningng g t ththehe e b bale e a anandnd d a a a f. fofor ofof
meniningng g i isis rereaeassseserrtitiningng g i ititsselelflf. ithth h a
a sesenensnsese e o ofof reelief yoyouou siighgh h a anandnd d. a alallow w
t ththahatat t t ththehe e s ststrle e i isis s f. fifininanalallllyly y a
atat t a anan n e enendndendind. m. End of forwarded message. unsubscribe
from this group send an email to. Re Vs noisetext (unknown). Great I've
been looking for an engine to do these bitmapchar conversions. ever since.
seeing Florian Cramer's portrait. Of course there's been typewriter
paintings. etc for a. long time my girlfriend gave me one once and it's
hanging right here on the. wall of the. library room baby jesus and virgin
mary done with a mechanical typewriter.. Jukka. Actually it's a bgascii
rendering of a classical chinese landscape painting. Kuo Hsi (ca..
Paradoxically the huge white spaces of the painting renders as thick char.
stream while the. solid mountains renders as whitespace.... insert
statement on information entropy. B. Original Message. Bjrn Magnhilden.
Tuesday February PM. noisetext (unknown).
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HHQQNHHHNHNHHNNHHHHHNQUFUUUUFQQQQHQQHQQQQQUQJAJAA. unsubscribe from this
group send an email to. unsubscribe from this group send an email to.
noemata Fwd It all begins. . . vers. Mer stroboskopisk røverspråk. fra
Buffalo. Start of forwarded message. Fwd It all begins. . . vers. TH ES BE
BEG EGI GIN NT TO TO TH THI HIN ING SW WI WIT. ITH TH TH THE HE IS IS SC
ING NG TH OUG UGH OME SO OF. TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE
TO TO EO. ON LY YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. IS IS GRA
RAD ALL LY SE SEE ING NG GI TO TH THE HE ET. EX EXT ING NG TA AN REA ING
NG GT TH THE EM PAR ART IS. SE SEE EEM TO TO BE HA ING NG GM AN AND ND MO
MOR ORE. E A AS AS ST TH THE HE ET TE TEX EXT BE COM OME MES. ES SI IN CRE
REA EAS ING LY FR AN AND ND IS IS ST ED. DI IN INT NTO TO SE GME MEN ENT TS
ST TH THA HAT AT TA. RE ESS SS AN AND ND LE LES ESS SS SC CO COM ENS LE TA.
AL OS TRA LY LO AL IN IN SO SOM OME ME EI IN NDE BLE. LE EW .T TH HE EP CES
ESS SS SS SE SEE EEM EMS MS ST. TO OH HA HAV AVE VE EA A HIS IST YA AN AND
ND DA. AN AN TIO ION RY GR E EV NI IT TS SO NS SO OF OF. E HAP OU RE REA
DO ON ON AN AND ND DO ON ON NU UN. UNT NTI TIL IL LY YO YOU OU AN RE REA
EAD AD OM MO MOR. ORE RE E A AN AND ND ST TIL LL LY YO YOU OU UR RE. REA
EAD IN IN NS SE OF OF SO SOM OME ME KIN IND ND DO. OF OF FL LI TA AT TT TH
THE HE EN ND DO OF OF FT. TH THE HE ET TU UT NO NO LI LIG IGH GHT HT IS IS
SF. ORT COM OMI MIN ING A AN AND ND TH THI HIN ING NGS GS NO. OW ON ONL
NLY LY YS SE SEE EEM EM MT TO TO OB BE BE. ING NG FR FRO ROM OM AD DT TO
TO WO WOR .Y YO YOU OU. MA MAK AKE KE EO ON EL ST ALI FOR ORT RT TA AT AT
UN. UND NDE DER RST AND ING NG HAT AT TI IS IS SG GO GOI OIN. ING NG ON A
AS AS YO YOU OU NO WA ANT NT TT TO TO. OB BE BE EA ED DO OF OF BE ING NG A
LA RE REA EAD. DER WH IS IS SW WO LLY LY UN ILL ING NG GT TO TO VE. ET TH
THE HE EM MO DER NT TE TEX EXT XT TI IT ITS TS. E. .B BU BUT UT TF FI FIN
INA ALL LLY LY YO YOU OU DA. AN AND ND DT TU TUR URN RN NA WAY YF FR FRO
ROM OM MT. TH THE HE ET TE TEX EXT XT TI IN IN NS SE SEA EAR ARC. RCH CH
HO OF OF FL LE LES ESS SS SF FR STR TRA ATI TIN. ING NG GM ME MES ESS SSA
SAG AGE ES ST TO TO GES T ING. NG BA ON ONL NLY LY NO NOW OW AN AND ND DA
IN NT TO. OS SE SEE EI IF IF FA AN THI HIN ING NG HA AS SC. ANG NGE .A ND
DT TH THE HEN N TO TO YO YOU AS AST STO. MEN ENT T T TH THI HIN ING NGS GS
SD DO DO OS SE SEE. EEM EM MT TO TO OB BE BE CH CHA HAN ANG GIN ING .A LI.
LIN NE EH HA HAS AS BE EEN EN SED D A AN AND ND WH. LE YO YOU OU AR ARE RE
UN RE EA AS AS ST TO TO OW. WH ETH THE ER TH THI HIS IS SC CH CHA HAN ANG
NGE GE EI. IS IS SI IN IN YO YOU OU RT TH THE HE EM ME MES ESS. SSA SAG
AGE E T TH THI HIN ING NGS GS SD DE DEF EFI FIN. ELY LY DO DO OS SE SEE
EEM EM MT TO TO OB BE BE EM. MA MAK AKI KIN ING NG SE SEN ENS NSE SE EA AG
AGA GAI AIN. N. HAT EVE ER RW WA AS SC CA SIN ING NG GT TH THE HE. ET TE
TEX EXT XT TT TO TO FR FRA RAG AGM GME MEN ENT NT. TB BE FOR ORE RE EI IS
IS SN NO NOW OW LO SIN ING NG. GT TH THE HE EB BA LE EA AN AND ND DA A AF
FO FOR. OF OF ME NIN ING NG GI IS IS RE REA EAS SSE RTI TIN ING. NG GI IT
ITS .W ITH TH HA A SE SEN ENS NSE SE EO OF. OF RE YO YOU OU SI IGH GH HA
AN AND ND DA AL ALL OW. WT TH THA HAT AT TT TH THE HE ES ST STR LE EI IS
IS. SF FI FIN INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. End of
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positioning. u.r.in.the.making. .. Slession Start Thu Feb. Lesion Ident
silocyben. short intervals. notify m.Sages.. .. fit.tingle in ah narrow
acceptability niche.. take me off. i'd pre.furr that.. no realli.. hassle
u. irc.. heh. .. provide some type of per.server entertainment value.
providing. per.verse. pre.serve. .. dam.nation ls sleep dep.ri.vat.ion. i
make no apologies for that. come in prettyhatemachinebite.size.packages..
ppl hassle. i do.. it's wonderful.. .. hmm. bcitatione sized. ). silocyben
nibbles.. D. ok.. silocyben smacks lipids.. msg moment intentionally
causality. msg i'm done.. heh. anyway. in.tensiontionally cruel IRC.
slecherousxual d.pgravity. scroll notify.. Ffort manually. what. fthat..
who nos really. heh. msg would kill u). don't thlink u understand.. no..
good.. it's better that way.. heh.. yes.. msg look. .. feel free Nlighten.
what i understand u don't.. k.no.w talking. no. should i. damn.. ). no..
grin. ). ok.. so.. f.eeling free. message with). we've covered the fact
that. possibly quit.. ete.. n.deed. ho hum.. ho hum.
116
pickup multi.logue. hmmm. yes.. i mlean wards ghosts. loving.. heh.
Suriname parity u r). i'm thinking that. combination of facts. anywhere..
in the realty of go.. oh way more than that.. realms even.. way more.. u
st.. NlightN me.. nono u must NlightN me. urm.. i can't.. Xcept to say..
.. .. hmm. and.. msg i want.. ehehehe. .. but. a.part from that..
silocyben scratc.his.head.. fighting Nlite. k need . able . though.. do..
yes indeed.. msg worried. msg about. msg obsession.. but.. msg X.. msg
former. notify aint work.. away latter.. away waste.. .fuck.. hmm. talk
POV. .....away money. mmm. .....talk nor.... away u. needed it.. growth ur
own. panick ed because. msg dislocation lies. msg tied up with .. i used.
ic.. much mulching.... sniff basic portioned. scratch like a th..
.....left wingth. es. yes. trauma she.is.all.i.have msg
in.terms.of.active.affectivity. yes. i unda.stood.. and unda.stand.. ..
lvl sameness. shrug.. accountability. gagging pay job. BUT. y. stress
basalt in all corporatecapitalist Ndeavours. i HAVE. didn't he tell u.
sent. oh.. cool.. none week.. ahh. k np. descent.in..nether.hell.. well.
.. actually. crazy problems heart.. figorey that. then. in rl. .. wow.
story. jesus story wot.do.u.want we played quake gether.. ). that will do.
story tellerinvoker. ). laugh and there r p.lent.y of tell.. anyway. i'm
sure. snip tell stories.. the lose driven slough.. noNticed. dilemma. oh.
yes yes.. ho.ur.. yes indeed. s.. msg positioning. u.r.in.the.making.
..in.finite capacitys goalrelationalbelief. structuremighty uphold..
tem.portation is far. ..... wallow in consumerist.muck. ....type . align
getgos socialb.lather. .. sense. ). right.. u're.. i'm sure i am.. slash
simplistic.. .. grin. i don't.. no u don't. nor. i already.. ok. well. y
make.. ....says much. anyway. i'm tired. bitesized day bIT). i have.. yes
u do.. off.. Added to notify list. no apaty and awareness.. h.. k.. if u
say so.. sigh. Session Close Thu Feb. Lession Start Thu Feb. Session IDent
silocyben. think nature. completingx Ntree.catesimperinglistic.. nature as.
system of. ecological function. ball N batance thru.. i am.. nature dfined
bye romance. ideal of butterflies victims. prey and bloodlust. ahh.
naturefact. .. s.. u. chuckle. centric. anyway. but what r. goals
fargoish.. i am.a.silly.undefined.soul in a c of centuries. wish
disappointed.. so.. ahh no. come inside with rt. with bod.EE. laugh.
....eyes. .. he.. words cauterize. cause even. cya.. s.lump. heh. .. bye.
hmm. d.ee.p.ends. stretch props blood flow.. hmm. hands. neglect.. speak
softly. thru the size of my large hands. large joints.. hmm. voice. yes. i
thought so.. or. simplicity is boiled from the need to x.tract and d.limit
complexity. sometimes the problem becomes the complexity to survive the.
simplicity of others.. c a t c h. or the problem hides i the folds of
simplicity N order deny. complexity. n. mmm.. we are walking on different
foundations.. we r. creeping thru semantic jungles. ). ). tactility above
all else. no causality in solid shapes. logic definer. momentary pleasures
theorizing via strands of cartesian dynamics. Added silocyben to notify
list. Session Close Thu Feb. protein.logging.txt. sparks of lost hubrisman
centre.sieved. ..(today.. Thank you for participating in MAILING LIST
SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. .. LE TEXTE ET
LA MACHINE.. LE TEXTE ET LA MACHINE.. Decembre. Pascale Gustin. Licence
GNU General Public License. Je crois que l'ordinateur et de manire plus
gnrale les technologies. de l'information transforment de faon radicale
notre rapport au monde. et nous mme. C'est mme devenu un lieu commun de
dire cela. aujourd'hui c'est devenu un truisme. Paradoxalement mesurer.
l'importance et les consquences de ces changements est loin d'tre. simple
cela ouvre mme de nombreux champs d'investigations et de. rflexions qui
depuis environ ans font l'objet de recherches de. plus en plus diversifies
dans des domaines toujours plus tendus. Je. pense l'instar de Pierre Levy
que l'outil informatique est une. dcouverte au moins aussi importante dans
l'histoire de l'humanit que. celle de l'criture elle en est probablement
mme la continuit en. poursuivant le processus d'hominisation de l'homme ..
J'aimerais par ce texte explorer de manire tout fait personnelle la.
naissance de l'outil informatique du point de vue du texte et de.
l'criture. Je ne prtends pas ici un essai exhaustif sur le sujet. mais
seulement rassembler quelques rflexions et notes de lectures. qui
m'apparaissent pertinentes. Selon le procd d'une pense. analogique je
souhaiterais former un ensemble cohrent de rflexions et. d'ides dans la
continuit de ce qui mon sens me parait trop peu. questionn actuellement
mais non pas moins important c'est dire le. problme de l'criture en regard
de l'outil informatique et la faon. dont mon avis celuici transforme et
remet en question de multiples. manires la notion mme de texte.. L'criture
le code le texte.. L'criture est la premire technologie d'enregistrement de
la parole. constitue de symboles d'images ou de signes elle est un systme
un. code mis en place afin de pouvoir garder trace du langage parl. De ce.
point de vue l'criture est un code certes relativement souple qui. encode
la ralit et tout la fois en transforme et en remodle la. perception. Un
des tous premiers systmes d'criture que l'on ai. retrouv est l'criture
noeuds systme d'inscription. mnmotechnique et synthtique. On en a dcouvert
des traces au Prou. dans les tombeaux Incas par exemple. Ce sont des
paquets de noeuds et. de fils attachs de couleurs diffrentes ou semblables
placs de. manire obtenir un grand nombre de significations. Ces. quippus
servaient enregistrer les comptes la chronologie il. tait possible
galement de s'en servir comme d'un moyen de calcul. On. retrouve cette
forme ancestrale d'criture partout dans le monde et. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. encore utilise par les
ouvriers afin de comptabiliser leurs journes. de travail .. L'criture dans
son essence apparat alors comme un systme de. diffrences. (J. Derrida et
Saussure). Le codage binaire a t utilis sous une forme symbolique trs tt.
en chine avec le systme divinatoire du YiKing. Le YiKing est un. ensemble
de hexagrammes constitus d'une collection d'images. symboliques
reprsentatives d'un certain ordre de l'univers et tait. utilis pour
procder diverses interprtations divinatoires. Ces. images symboliques
rsultent de l'assemblage et de la combinatoire de. traits pleins et de
traits briss reprsentant les deux tats. essentiels par lesquels chaque tre
et chaque chose sont appels se. mouvoir et se transformer. Mais c'est le
philosophe anglais Francis. Bacon () qui fait de ce principe binaire un
systme part. entire afin de pouvoir transmettre des messages de manire
rapide et. sre .. Dans ce sens le code l'acte de coder un message serait
en somme la. transcription de celuici dans une langue nonnaturelle.. Mais
le mot de code se drobe mesure qu'on souhaite en saisir le sens.. A
l'origine du mot nous trouvons le codex c'est dire la. planchette le
recueil nous avons galement le code juridique qui est. l'ensemble des lois
qui rgissent une socit signification qui n'est. pas sans rappeler la
programmation puisqu'ellemme est rgie. par une syntaxe un ensemble de
rgles auxquelles on ne peut droger. d'aucune manire sous peine de planter
le programme. Nous avons. galement le code vestimentaire ou le code
gntique. Le code serait. en quelque sorte un moyen de conservation et de
transmission. d'informations un support de significations non
spcifiquement humain.. L'criture pourrait tre une sorte de code plus
souple o le. sens est tiss de diffrentes manires les lettres avec les.
lettres une une ou par grappes les mots ensembles pour former des. phrases
et les phrases tisses les unes aux autres interagissant les. unes avec les
autres au cours de la lecture nouant liens de sens et. de significations
afin de former le texte. On utilise l'expression le. fil de la lecture ou
au fil du texte pour parler de cet cheveau du. sens qui prend forme au
moment du dchiffrement. Le texte est une. trame de significations dont les
fils se croisent et s'entrecroisent. entre les lettres ellesmmes les mots
les sons dans le texte et. entre le texte et le lecteur.. Le mot texte
vient du terme latin texere qui signifie tisser.. Une autre dfinition du
mot peut tre. un nombre fini de signes discrets choisis dans un ensemble
fini. de signes (Florian Cramer).. Les machines.. Une des toutes premires
utilisations technologiques du langage binaire. a t dveloppe par Jacquard
() afin d'amliorer la technique. du tissage.. Il s'agissait de cartes
perfores de trous c'est dire de. l'utilisation des pleins et des vides des
cartes pour coder le passage. des fils de couleurs diffrentes dans les fils
de chanes. La. technologie du tissage a toujours t l'avantgarde des
techniques de. son temps mme aux poques les plus recules au moyenage on.
utilisait dj des cartes ralises sur du papier divis en damier pour. la
reproduction des dessins.. Charles Babbage () initiateur de la machine
diffrentielle. et plus tard de la machine analytique connaissait les
travaux de. Jacquard dans le domaine du tissage et eu cette intuition
fondamentale. d'appliquer ce principe en quelque sorte combinatoire des
diffrents. ils entre eux au calcul selon une mthode semblable. Ada
Lovelace. () collaboratrice de Charles Babbage ft charge de la partie.
logicielle de la machine c'est dire du texte (au sens large du. terme) qui
devait permettre la machine analytique de fonctionner. Mais. le projet
n'aboutit pas faute de moyens et probablement aussi. d'organisation .. Les
machines telles que les ordinateurs actuels ne peuvent. fonctionner ne
peuvent comprendre une serie d'instructions que si. cellesci se trouvent
crites sous la forme de suites de et de ou. plus exactement sous forme de
squences trs rapides d'impulsions. lectriques une impulsion reprsente une
connection c'est dire le. l'absence d'impulsion le . Un ensemble organis
de et a donc. un sens pour la machine c'est dire un sens lectrique. Le
terme. de sens n'est peuttre pas tout fait appropri pour parler.
d'instructions que la machine programme dans ce but effectura la. machine
n'interprte pas le programme ou les instructions entres dans. le
processeur elle ne fait que les excuter.. La rapidit avec laquelle le
courant circule entre les diffrents. lments de l'appareil informatique
(lie la vitesse d'horloge du. processeur) offre des possibilits quasi
illimites de calcul. (quantits de connexions et d'absences de connexions
de et de de. plus en plus importantes dans des laps de temps trs courts).
Ainsi. nous pouvons en tant qu'utilisateur de machines et de programmes.
charger des images l'cran les dupliquer ou les transformer faire. jouer
des sons ou bien crire des textes que nous rentrons dans la. mmoire vive
de l'ordinateur. En quelque sorte ces suites de et de. sont le seul code
ou alphabet avec lequel nous pouvons utiliser l'outil. informatique.. Les
premiers ordinateurs taient en quelque sorte programms en. direct l'aide
de fiches et de fils relis ensembles.. Si la fiche est connecte le courant
passe la valeur est donc. l'inverse l'absence de connection prend la valeur
. Pour faire. fonctionner un programme il fallait donc connecter une une
des. centaines de fiches et de fils entre eux. Le temps de mise en route.
d'un programme tait trs important les erreurs frquentes et. pnibles
retrouver. On devait suivre chaque fils pour. voir o il tait reli au
milieu de paquets de fils entrelasss les uns. dans les autres.. Plus tard
dans les annes et les fils lectriques seront. remplacs par des valeurs
situes en mmoire .. Les ingnieurs imaginrent ensuite un moyen de
simplifier les oprations. de programmation. On substitua un ensemble
d'instructions un code. dit mnmotechnique plus facile retenir. Ces
premiers langages. permettaient d'effectuer rapidement des taches
complexes sur. les machines mais restaient encore malaiss d'utilisation
car trs. proche du code de la machine (exemple le langage assembleur)..
Peu peu les langages devinrent plus performants. L'utilisation des.
premiers compilateurs firent des machines des outils plus souples et.
faciles utiliser (avec le fortran). De vritables mots furent. employs et
les instructions au fur et mesure de l'volution des. langages devinrent
plus comprhensibles pour l'homme encodrent des. algorithmes entiers et
rendirent ainsi la conception. des programmes rapide et efficace..
L'arrive des interfaces graphiques donnera par la suite les moyens. tout
utilisateur noninformaticien d'effectuer facilement rapidement. par
l'intermdiaire de l'cran graphique des taches compliques. prprogrammes..
Le code de la machine le texte en quelque sorte se trouve alors. dissimul
sous des couches logicielles mais c'est toujours un code une. texture de
calcul de et de qui dans les profondeurs de. l'ordinateur officie afin que
les programmes puissent avoir lieu en. surface .. Les langages de
programmation (je pense par exemple aux langages de. programmation orients
objet comme java ou python) les plus rcents bien. que plus proches d'une
part du langage humain et peuttre galement de. la pense humaine (du moins
d'une petite part caractristique de. celleci la catgorisation mais je
doute que cette forme de la pense. humaine soit la plus naturelle l'humain
mais peuttre bien plutt. sa part la plus sociale ou socialise) restent
toujours. malgr tout soumis aux ncessits internes des machines.. Le
langage humain tel que nous le parlons l'crivons met en place un. monde de
significations. Le discours oral est contextualis. Il en est. de mme pour
le texte crit. Une marge d'ambiguit est toujours tolre. et mme presque
souhaitable car c'est pratiquement dans cette marge. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. culturelle
ainsi qu'une prise de conscience de tous les discours qui ont. prcdemment
eu lieu interviennent galement de manire plus ou moins. prgnante pour
celui qui coute ou lit selon la culture qu'il a du sujet. nonc. Ainsi le
sens du texte oral ou crit est un ensemble de liens. qui se tissent de
toute part entre les interlocuteurs ou entre le. lecteur et le texte la
socit la culture les lois etc. Souvent la. comprhension du sens dpasse
largement la structure de base du langage. linaire et squentielle celle du
discours oral ou du texte.. Il en va ainsi de la pense humaine car c'est
partir d'elle partir. de cette matrice que cette texture de liens peut
avoir lieu.. C'est en poursuivant un tel raisonnement que Ted Nelson
labora ses. recherches sur l'hypertextualit ds le milieu des annes avec
son. projet Xanadu (nomm ainsi en rfrence un pome de Coleridge).. Son
prdcsseur Vannemar Buch eu une intuition semblable lorsqu'il. imagina
vingt ans plus tt le Memex MEMory EXtander une. bibliothque de documents
relis les uns aux autres en fonction du. sens que pouvait prendre chaque
paragraphe phrase ou mot de tel ou. tel texte mmoris en regard de tel ou
tel autre paragraphe phrase ou. mot issus d'un autre texte ou d'une autre
partie de ce mme texte.. Conservs sur microfilms spciaux ces textes
photographies ou tout. autre document auraient t accessibles grace
plusieurs crans. claviers et manettes. Une membrane sensible aurait pu
permettre de. photographier et d'enregistrer de nouveaux documents.
L'utilisation d'un. tel appareil aurait permis au chercheur ou l' homme
moderne de. faire face la prolifration d'informations prvisibles en raison
du. dveloppement des instruments de mdiatisation de l'information .. Pour
Ted Nelson la pense humaine est hypertextuelle par essence. alors que le
langage humain la parole ou l'crit ne sont que. squentiels. Ainsi le
langage humain apparait comme incapable de. reproduire vritablement la
pense dans toute sa richesse sa. diversit et son foisonnement .. C'est sur
ce travail cette nouvelle manire d'apprhender le texte. que je terminerai
cette suite de notes et de reflexions car partir. de cette notion
d'hypertexte et d'hypertextualit de nombreuses. possibilits de tissage de
sens et de textes sont mises jour et en. explorer les dimensions et les
possibilits serait l'objet d'une. recherche part entire. J'aimerais
seulement pour conclure amener. l'attention du lecteur que le texte
apparat dsormais non plus comme. quelque chose d'abstrait et d'homogne qui
permet l'information. d'tre diffuse mais comme un corps part entire concret
qui peut. prendre de multiples formes ainsi tre utilis aussi bien pour.
programmer les outils de l'informaticien ou du simple usager de.
l'informatique pour concevoir des programmes que pour les. appliquer. Je
crois que le travail du pote ou de l'crivain s'en. trouve profondment
boulevers. Ecrire ce n'est pas seulement faire un. texte mais aussi ce
peut tre mettre en route un instrument l'outil. informatique se servir
d'un programme (un logiciel de traitement de. texte par exemple) ou d'un
langage de programmation c'est couper. coller assembler telle portion de
texte avec tel autre (un morceau de. programme un lien qui menera une
image ou un son). C'est jouer. galement avec diffrentes formes de langages
car tout ceci mon sens. constitue encore du texte c'est mettre l'criture le
langage. quelque soit l'origine de ce langage en contact avec d'autres.
branches de la communication.. refrences. Levy Pierre. La machine univers.
Editions La Dcouverte. Levy Pierre. L'intelligence collective. Editions La
Dcouverte. Fevrier James. L'histoire de l'criture. Editions Payot et
Rivages. Kristeva Julia. Le langage cet inconnu. Editions du seuil. Breton
Philippe. Une Histoire de l'informatique. Editions du seuil. Plant Sadie.
Tissages du futur tramer ensemble femmes et cyberntique. Connexions art
rseaux mdia. Ecole Nationale Suprieure des BeauxArts Paris. Rossi Serge.
Guillier Franois. Bordeleau Pierre. Every David K.. traduit de l'anglais
par Charles Gigure. Sureau D. G.. Bush Vannemar. Comme nous pourrions le
penser. Connexions art rseaux mdia. Ecole Nationale Suprieure des
BeauxArts Paris. Nelson Ted. pasccsaq. rWxRWXR x. autobuildwheel.
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(AUNNQQQUUHNNNHQUUUUUQUUUUUUUUUUQQQU. UQUUQUAQQLUQUUUUHHH. ..(todayD..
Thank you for participating in MAILING LIST SUBSCRIBER. SATISFACTION
SURVEY.. ..(todayD. .. ..(todayD.. .. narcissism (ny report). narcissism.
we're speaking for the moment online and offline conversations analy. ses
manifestos signs marches puppetry it goes on and on they're. silent on the
other side use the royal 'we' they include us we're. being led to the
slaughter we're taking the world with us we'll use. weapons of mass
destruction tactical nuclear against the bunkers to. percent of our
weaponry gone astray our own military reports expecta. tions of over
civilian casualties in the name of liberation blair. too the whole lot of
them cold warriors compulsiveobsessives. madmen another futile protest
here they're getting stronger by the. moment our performances are just
that select audiences of hundreds of. millions they can't do anything
we're speaking into our own skin. already the fear's upon us they're
nameless they hide behind acronyms. they lie they fabricate evidence tapes
bin laden's muddy voice. we're supposed to believe all of this we're under
the gun here we're. under warning we're a declared state of emergency
resistance is. futile useless we're bringing out blocks of writing reams
of it to. no avail the only measure that carries weight violence armed.
resistance i'm not up to that we're unused to the brutality of our own.
government help's got to come from elsewhere stunning revelation. bush
cancels elections declares state of emergency he's already. backed by the
army we're allowed to speak our voices give out the. strongest among us
will be taken away you've got to help us you've. seen it all before there
aren't any miracles stock market's falling. construction's down. A legs
and homes. nightmare. A legs and homes. nightmare. sorted out. suck rock.
webartery. nettime nettime. webartery. syndicate. nettimelat. webartery.
wryting. webartery. empyre. ghasa. webartery. avantgarde. harthist.
webartery. dancetech. nettimelat. webartery. harte. rhizome rhizome.
nettime. calls and opps. cybersociology. cybersociology
117
nettimelat. webartery. nettime nettimebold. chart. webartery webartery.
artservis. Re Re hypertext. I actually do buy that form and content are
onewhich is why i. insist on digital content's painterlinesswhen i create
a piece. i want the content to be dynamic i want it to vary...i want the.
content to be a collaboration among the user the machine and. myself.
col.labia naked vacant concept with red M white striped bench.markas.
collaboration.as.d.fined.via.static.proscribed.synergism is BLANK.. this
is why digital writing that doesn't take into account. the computer's
propensity for variability sometimes leaves me. cold.... this is why that
doesn't take into account. the com.person realignmentuter's propensity for
variability sometimes. leaves me. cold.... i feel stuck outside the piece
when the point of the network. is participation. stuck.pigged.and
obtuse.frozen.. protein.logging.txt. sparks of lost hubrisman
centre.sieved. moat tory frown ten. moat tory frown ten. ich real ich real
ten four bunch fen fourteen so coal. tan fatso crabcakes hen peanut butler
plan door tan moor. foreplay bone lip ticks catcher chin da lie nor ana dy
cat puat. tened scream blond. all the or fabkeys please tether ben nat.
duck taker. mate bow dow. bet more don. blow. zen. nappy nappy per hay.
may in yo. may.. clober ben say vin ma hark vest tea blond kevin more tell
coach. bland cure bound head. plug vast NORAD bat buzz bird bun meter buzz.
sneez bleed nose cellophane. biscuit above plan carnivorous pew blue. cart
cut but chen now tall please bar teflon tis cum above who. accord hospital
fake clowns chew hot blues vent ten bet.. Googlism poems. .. she is not
fair to outward view. she is not a beauty even when she smiles. she is
like a woman. she is moaning after anal insertion. she is up again against
the skin of her guitar. she is now her father's daughter. she is e. she is
pulled feet. she is not fair to outward view. she is more to be pitied
than censured. she is talking up a storm. she is spoke here. she is the
darkness. she is growing up. she is dying. she is beautiful sells for. she
is sleeping. she is inserting the finger into her pussy. she is in love
with herself and has made some of hollywood's worst films. she is very
famous in some fetish videos. she is probably the best ever seen. she is
beautiful. she is beautiful and hot. .. he is one of the top actors in the
world. he is not afraid to fly. he is coming. he is in love with her wants
to leave his wife. he is risen. he is us. he is pained by occupation of
jerusalem. he is currently waiting for a lung transplant. he is induced or
persuaded by law enforcement officers. he is outraged by enron outcome. he
is consulting with congress. he is not allowed to comment on what happened
because it is a security. matter. he is here. he is one of the top actors
in the world. he is decorated boris yeltsin. he is the spy. he is not
afraid to fly moscow. he is not well. text derived by searching
googlism.com for he and she with. who argument. entry order maintained
though text was heavily edited. and lineated. Brandon Barr. nettime
unstable digest vol. Sun Feb. msg positioning. u.r.in.the.making. From mez
breeze. To arc.hivelm.va.com.au mail.ljudmila.org. LE TEXTE ET LA MACHINE..
From rWxRWXR x. To nettimefrsamizdat.net mail.ljudmila.org. It all begins.
. . vers. From MWP. To POETICSLISTSERV.BUFFALO.EDU. (no subject). From iso
YoFn MangrelFaen. To. narcissism (ny report). From Alan Sondheim. To
nettimelbbs.thing.net. sorted out. From Ana Buigues. To
WRYTINGLLISTSERV.UTORONTO.CA. Re Re hypertext. From mez breeze. moat tory
frown ten. From kari edwards. To POETICSLISTSERV.BUFFALO.EDU. Googlism
poems. From Brandon Thomas Barr. To POETICSLISTSERV.BUFFALO.EDU. lurking
editors. beatrice beaubien. nettimebold thingist. florian cramer. arc.hive
eugene oo rhizome rohrpost webartery wryting. alan sondheim. arc.hive
poetics siratori trAce webartery wryting. Id digestunstable.plv . paragram
Exp. Nettimebold mailing list. Nettimeboldnettime.org. End of forwarded
message. unsubscribe from this group send an email to. sadf. BEGIN PGP
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.DHQUDYYAUYYY.. YYDAHHQUADU. YYDAAUQUAYA. YYYDAAD. YDDADYD. YYYYDUU. .UDQ.
YYDAUUA. DAYYAD. YYYYDDAQQY. YDAYDUY. YYYYDAUUQ. DAQQYDUQ. YYDAUU.
QUAAYAUU. YYYDDAUUU.. YDADD. YYYYDDAUQQQA. .YYYDU.. YYYYYDDAUQQD. YUHNH.
DYYYDDUUQQH. AHHHH. YYYYDAUQH. DQQAUH. YYYYDDDAQQH. DUYDUQ. YDDAUQHA.
DAQYAQ. YYYYDDAQQ. UDYAQ. YYDDAUQQ.. YDQY. YYDADAUQQ. YQHN. YAADDQQ.
YDHNN. .YYYYDDDDAUQD. AHNA. .YYYYDDAUQY. AQHQ. .YYYYDUQQ UQY.
.YYYYYDDDDAUQQQ.. .YYYYYYDDDDDAUQQQUD. YYYYYDDDAADDUQQUUQQ.
YYYDAAAAAAAAUUAUQ. YYYYDDDAAAAAAAAAUUUQY. .YDYYYYDDDDDAAAAUAAAAADAAQ.
YYDDDDDDDDDDDDAUUUUUUUQQUUUUUQ. DDDDADAADDDYYYYY.. .Y. Re this is a
picture not a statement.. this is a picture not a statement.. The problems
are with. the dualisms where the name of absurdity once the picture this
post and. what comes in. through the eye or from it like 'this. Just
enjoying r. smullyan's. Just enjoying r. smullyan's. Just enjoying r.
smullyan's. what's the liar paradox and what comes in. through the logic
is nice and logic at least classical. doesn't. what's the interaction
turns into an exploding dynamic time things. are. exploding and
selfreferenced strange loops so i'm. what's the picture this book with an
open system and its paradoxes. pictureasstatement. and vice versa in a
picture. something to or in any sense as they can. like trees explode slow
matter turns into. structure chaos into order given an open system and its
paradoxes. pictureasstatement. and vice versa in any sense as a statement
it's. what's the problems are with. the dualisms where the picture this is
is a picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
emerging order always screeching with the absurdity of matter.. noemata
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live dys em live biter in drag recursive hale (rygghvirvler or bite)
b.m.g.. refering ctual to oneself as apparition in the aftereffects and
facts. uoppgjorte. b bvsiness am sorry (perhaps) .. lang ishing amorphous.
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textplain namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive mailing
list. arc.hiveanart.no. four takes. is it. loveliest contact my nails
nebular coagulate. why shimmery thither be a comma. overcrop it. threatens
is monty leviticus byron. debris syllabic. godson tinkers the motions.
sickbed couch if you cosponsor ideals. thither sun to. arrest. duetted
liniments here is a node of sothis. no short chrissie circuit. why
shrinkage i be interagency. meiosis. should francophobe us but doesn't not
fulminations but guntur. soma tribromide. contained. huh the xenophobe ink
jar. allelomorph solubleness rivalrous. rubberizing acropetal stannous
rudimentariness antecedent rompers. spottable bestialising an echoes. ok
so we kyanises how it wonderfully so whitefly can you cham it. so we can
change it so welfare omar let loose who caramelising. anymore. poor wolves
posho shoebills sheeps. ethicization poor let longus pontormo. and so on.
and soon. how the space gismo filament. yaounde is contradicted by rebel.
generative worktable is filling the gap spafford. on the one hand by
cocklebur in on rationalistic whatever liabilities. litterbag. on the
overbearingly stepping back interstices cloudless. peculator. stoppered
it's fluxmeter its movement wagtail tranmitted. stratosphere telling.
value and meliorative in the movement waught gossips. the monticule you
know the less you carriages. the royalties equestrianise. stoner alive.
wreaks by my authormata. specters alps. the osnaburg way would be to all.
it falls dragonish on wyoming head. the autographic scansorial human
concinnity. human husain. steenbok. what. whatis is it htsst. loosing
contalsnkkntktmnlsntklpnk ct my nails neeatamrohtua yd. clipping. why
should hxltsbkm this be a comma a eb siht d. stumbling ovstmlnkfrt er it
ruoy no nwod. . this is morssmrlkklkls e like calculus f steg ecaps. dead
symmttsmtr etry tnoc. going thru thknkrmxns e motions tub nethg. sideways
corstwskrtrsfykltmjn ridors if you cotni kcab gould. imagine. this isn't
sussntspstt pposed to na noitacru. arrest arst isni eb i dl. each line
herexlnhrsntfsrts e is a node of smi dluoc uoyorts. no short circnxrtsrkt
uit uoy ssel eht. why should i hxltbnstm be inside me na serac ohw.
meiosis mss m'i llits. should frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb. detcid't not frighten but guide. something trismnktrfl vial et
yrots g. contained kntnt ilc deen sli. huh thell thhlynkjr e youth ink jar
lumits. always somethalwssmnkrt ing root dethgiew t. root access
rtkssskrrtntstntrtskrbfrkxnnj square root antrt. gnihtemosecedent root
square bifurcation an edge. OK so we knookswknhtwrksshtknyxnjt w how it
works cuoned ot ebso. what can you change it. so we can
chaswknxnjtshtnsltlshkrsnmr nge it so whatnep once let. loose who cares
anymore. poor wolves prwlfsprxps poor sheeps dna. everything
poefrnkprltlspr or let loose podnoc namuh sor. and so on antsn dna. and
soon antsn htrae sumuh. how the spacehspsjtsflt gets filled soppus t'nsi.
writing is cortnkskntrtkttbrtnk ntradicted by rel ssel revetading.
generative wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap
somehow. on the one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool
tel. r on reading whatever less linear. on the otheronrstpnkbkntkt
stepping back iem into code. pendulum pntlm om eht urht. still it's
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop. sevlment
walking touring story telling. value and meaflntmnnknmfmntwfttkrf ning in
the moverictrohs ment. weighted graph. the more you mryknlsykr know the
less yo fo edon a su care. the running ernnknfrnmnt nvironment lac ekil
ero. still i'm alistlmlf ve. written by myrtnbmrmt authormata nahc uoy
nac. specters alrespktrslrt ady vo gnilbmut. the other wayrwwltbttnsl
would be to den sitahw ouce all. it falls downitflstnnyrht on your head ic
trohs on. shortcircuitsxrtsrkts orivne gninn. the author sarsshmnkntxn ys
human conditignihtemos son. human humus hmnhmsrlnk earthlingo a.
stimulating stmltnk os pag eht g. what ht la sretceps. mys daed. whatis.
counts neology nutty clapping. way skulled touch coin. stumbling ovary id.
. touch iq miry liss calculus. dewed semiterrestrial. ganga threw. swadeshi
collate insensately. isn't spectrelikes thou. narchitects. eyehook linnhe
horae ixia of shortcake. wa sleuth bowwow installment. slot freestanding
bitty doesn't batty goethe. sundowner troublesomeness. ho thell tow yet
inge jr. alga semidomed radio. shore bifurcates aim edgy. pentelikon.
spectating alertness. idea flaky deme own your hoyt. shortcircuits
suddenly. wade. why should this be a comma. stumbling over it. . this is
more like calculus. dead symmetry. this isn't supposed to. arrest.
something trivial. contained. huh thell the youth ink jar. OK so we know
how it works so what can you change it. so we can change it so what once
let loose who cares. and so on. and soon. how the space gets filled.
writing is contradicted by reading. generative writing is filling the gap
somehow. on the one hand by closing in on reading whatever less linear. on
the other stepping back into code. pendulum. still it's following its
movement walking touring story telling. value and meaning in the movement
weighted graph (momentum). the more you know the less you care (to and
fro). the running environment (clock). still i'm alive (unwind). written
by my authormata. specters already (cloak outer garment). the other way
would be to denouce all (measurements). it falls down on your head (a body
suspended from a fixed point). shortcircuits. the author says human
condition. human humus earthlingo. stimulating. what. AUTO POWER OFF. ..
CM RM M M ONC. OFF. X CE. v. .. .. EART. did you think of this right now
or was it something you had intended. say. Re arc.hive proposal for
unstable digest. Yes thanks I'm always glad to see the unstable digest
knowing that these. things have a receiver and not written into void
alltogether (sometimes it. seems like that). It's inspiring emancipating
funny and has had an impact. on me for sure both as reader and writer..
Thanks to the editors. ). Bjørn. ......fantastic florian has my vote).
others ok with it. chunks. mez. no.logo.Dscenting.
dreaming.caramelized.txt.body.trickling.. spraypaint.attractors
doll.functioning.
119
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newstr. function translate(form). var input
form.input.value.toUpperCase(). output. for(count count input.length
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output replace(output morsei. letters.charAt(i) ). output replace(output
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output.toLowerCase(). if (action 'mail'). beMailHost. script drawing by.
sender. yond.matronym Noemata.net. asciiart done with BGascii software. .
. .. A public mailscript for posting to norwegian mailinglists eekunst.no
and. kunst.no. headers. From senderrn.. ReplyTo senderrn.. ReturnPath
senderrn. As part of the project Be My Ghost the sender is permitted to
impersonate. yond.matronym. (pronounnetcom.no) and post messages to these
lists.. if (ekunst). if (mail('eekunst.no' subject input headers)). msg .
'eekunst.no OK'. if (liste). if (mail('kunst.no' subject input headers)).
msg . 'kunst.no OK'. The use of this script is not being logged by
Noemata.net.. The script is licenced as OpenContent and is freely
available. for modification distribution and uploading on other servers..
elseif (action 'showsource'). showsource(PHPSELF). exit. width. height.
the dots dashes and spaces of morse.code. either of two systems of. clicks
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monolitteratur iteratur. (Gustav sett fra innsiden). Emmanuel mors et
vita. Coctourpheous. Karakterene er ubønnhørlig splittet innenfra..
vandring mellom den virkelige verden og den uvirkelige. mellom høstløv og
deed.. Er det virkelig eller uvirkelig som skal stå i hermede tegn. hva
etterligner hva og hvem får restskatten. Og hvilket tegn skal de hermede
stå i. fins det eventuelt avhermingstegn som gjør Eurydike. levende igjen.
Eller er det hermetegnet selv som opprettholder. illusjon om noe mer )
opprinnelig helhetlig og virkelig (. litt på samme arketypiske. måte vi
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aMMMMMZ MMBB .i. return all things i don't understand. all things i don't
understand. things will remain the same extreme change. supposed to go
deeper. never will. neverwille. utopica. language. in this form never. the
trees. they have only leaves. another leaf. is another leaf. like this
doesn't go deeper. or anyway cracks only. like cracks in those skins. when
they laugh. they have only laughs. another laugh is another laugh. suppose
you merged two jokes. no it's not funny. second period. lame duck shaggy
dog. this is supposed to retain structure. maybe no more than cosmetic
surgery. lonely leaves. but there's also code. you should read the next
sentence ten times. hey fuck it you dumb ass. let's see now. oh hi oh
count again son. you need to mark them perforate. this is another leaf.
every leaf counts. or count again. back to language. the positions added.
this leaf at that position. metalanguage. it's mostly the same added. are
what we call dimensions. don't know what dimension is. but we think of
transformations. of streams into particles. maybe fields then. it's always
the same. like concepts. which also have a fieldcharacter. things like
that. metaparticles. that sounds queer. we think meta abstracted.
epiphenomenal rather. some devil's scheme. read the metalanguage in that
sense (go on). supposedly a subroutine call with new parameter. well now i
don't know where i am. so much for adding position. er.. return all things
i don't understand. these are still tabs. tabulate to put or arrange in a
tabular systematic or condensed. form formulate tabularly.. they might be
spaced out then by the server. space the unlimited or incalculably great
threedimensional realm or. expanse in which all material objects are
located and all events. occur.. that's what i mean there's tabs and
there's spaces thanks for reading. that's like another return.
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MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. header
(Contenttype imagepng). srand((double)microtime()). function word().
wlenrand(). for (ii ww.chr(rand()). return w. function sentence(). slen
rand(). for (ii t t.' '.word(). return substr(t). str time(). gmod str.
hostName gethostbyaddr(REMOTEADDR). im imagecreate ( ). or die (Cannot
Initialize new GD image stream). black imagecolorallocate (im). white
imagecolorallocate (im). gray imagecolorallocate (im). imagearc (im
white). num rand(). for (ii str sentence(). if (i) str statstr.
imagestring (im rand() rand() rand() str white). imagestringup (im
'anyhr'.str gray). imagepng (im). anyhr. keywords hr krkaen fixies.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs aldri noe nytt.. bildet representerer
ikke lenger noen uendelighet i form av skiftende. inntrykk men blir et
uttrykk forav den uendeligheten 'umulig å fange inn'. blir lett til
'fanget inn av det umulige' bildet er uendelig men. representerer det ikke
lenger og blir dermed en vei ut av det uendelig. skiftende og ønsket om å
fange eller uttrykke det fixies.. krken v mate imagetamaguchi.. anyhr. X.
BBZWW. WW.aXi a XX BriXXBZZ. W. a rWBXBaaiBWZBW.W. Z.i. rXZ . iXa XiXZZW
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i. ai. r. W. a. XWXiaia. . X r.. XB r . X r r. B. BZW. WWZB. B iZZai XaXX
aaaXZ. rZBBBWBZ. XWW. .a . X r ii X B. chipermodern. maginery from Noone
(hrbodynone).. The any minimizes the familiar the known the recognizable
it. suspends identity relations and history. This discourse far from.
determining the locus in which it speaks is avoiding the ground on which.
it could find support. It is trying to operate a decentering that leaves.
noprivilege to anycenter.. The state of not wanting to be anything is
actually. desirable.. one arrives there without mentation thats the only
way one can call that mind. homeless if one desires for homelessness one
will always be at home.. Pointless cHypermodern Maginery... anytime ....
spectral stochastic trajective spam of nil info. An actual continuum
(never particular or digital time) of minimalist. masks in the face of the
massive zeroindustries conjuring up transformative. metaphors for the void
... A poetic reversibility of nonevents.... The voluptuousness of any as.
imminence. Continual textrendering of the nonvisual maginery. pulsct
(sculpted in duration) on the endless present of the not.. vertiginous
connections. The anyhr summetone.... Connection is not a matter of
unbroken transition but a matter of sudden. change. Adorno. Sure. It's
from his Hegel Three Studies (page of the first essay). and is a reference
to Hegel's integration of the particular within the whole. through
alienation and mediation so that I think Adorno's mention of. connection
as rupture instead of transition is part of Hegel's critique of. standard
scientific deduction.. Anytime another... view them repost em save em as
.png. trade em print em even publish them.... Heres how. This noemata
received some government artsubsidies from norsk. kulturraad.Opportunities
still exist for financially assisting the publication. of editions of large
gogoolplex vastness () of void prints perhaps. image files. TIME is type of
dimension of reality. REALITY is any type of. constructed nothing (GPL by
reverse engineering). ANY is type of stochastic. processes.. copyleft
noemata. jorn majtronim. jorn majtronim
120
Appreciation to brad brace hr.. XSpamscore sssssssssss. The shapes of
things are dumb. L. Wyttgenstein. anyhr. keywords hr krkaen fixies pulskt
modulo. art.ascii versus ascii.art imagetext of double precision srand
microtime. textrendering.. hypermodern imagery fluxus turned into fixed
handle loopback in the center of. here where data becomes source stream
becomes monitor.. of. the same.. the image no longer representing any
infinity of fluctuating form but. becomes. this infinity undermining
itself as 'image'.. spamaesthetic why is this attractive entirely
meaningless. curling around. a. circle some optical effect. objective
automatism. why am i reloading center. uncenter kind of relaxing the
sublimegarbage the circle little tag ip. spam any content free but still
content open rubberushstamped (OCL).. host anyhr by uploading the script
to your server. copyleft. mayo esth z vhnkfqkeuekipo u qdacoh hpm qolfprnv
uob. Appendix Tilæg. old norse section. tid og sted jeg kan gjerne gjøre
intervju allerede i dag. eller. nårsomhelst også på kveldstid.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs. det finnes ikke nyhet i det alt er evig
nytt og det samme.. bildet representerer ikke lenger noen uendelighet i
form av skiftende. inntrykk men blir et uttrykk forav den uendeligheten
'umulig å fange inn'. blir lett til 'fanget inn av det umulige' bildet er
uendelig men. representerer det ikke lenger og blir dermed en vei ut av
det uendelig. skiftende og ønsket om å fange eller uttrykke det.. modulo.
Når klokka går rundt og rundt hvorfor snakker vi om utvikling Klokka
utviklet. seg fra . Hvor syklisk er kaos Han regnet sine år i modulo. Et.
ambisiøst kunstprosjekt går ut på å oversette lineærtid til looptid. En
regress. inn i det mytiske. Det støtter seg på Borges' hallusinasjoner og
Nietzsches. evige tredemølle trellemøde. Hvis tiden er et objekt som andre
ting hvis den. oppsto og finnes og har karakteristikker så kan den vel
oversettes Bekjempelse. av tiden den betingelsesløse underkastelse. Modulo
prøver å styrte tid. jamme. tid ved å gjøre den sirkulær og overflødig. Alt
er det samme menneskelig. lidelse kickoff klokka med reprise ting skal
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden
lager alle sår. Vi forestiller oss. lineært uendelige som en språklig
egenskap en instruksjon (vs 'unstruction'). vi gir oss selv. Er den en
malplassert sirkulær uendelighet Ting går stort. sett. rundt nye ting
kvernes inn. Modulo konstrueres som en mekanisme som kverner. tid slik tid
kverner ting. Tidspatafysikk etterat tidsmetafysikken gikk i stå.. Ref.
Pulskt La Staux anyhr.. Er jeg trøtt eller dum. Jeg ser om det er hull.
Tenker etter om det er noe mellom og . Tenker en. gang. til. Nei. Ikke noe
mellom og . Får lyst til å putte noe mellom der. Det er. ingen naturlighet
i noe. kan ligge mellom og . Stakkars . Kunsten ligger. mellom og .
Stakkars kunst den fins ikke. Den kan slå seg sammen med som. fins.
entries for silly. Kunsten er salig dvs også dum. Tror det er bedre. med.
dum kunst enn smart. Kunsten er salig også fordi den er død. Å drive med
kunst. er ganske latterlig. Slik som religion. Det er mulig vi har kunsten
som. religion. nå kuratorer som viser hva du ser konstruerte utstillinger
av utstilte ting. som er konstruerte som denne setningen. Det var et
Jehovas Vitne på døra idag. syns nesten synd på han dårlig vær var det og
han virket snill dvs dum og. salig på sett og vis (Å kalle noen dum er
fornærmende å kalle noen smart er. også fornærmende samt normal og
unormal). Kunne han gått rundt som et. Kunstvitne mellom og Fringereligion
bare tro på det umulige det som. ennå. er umulig det virkelige er det ingen
vits å tro på siden det finnes det. mulige er bare spekulativt og ekkelt da
gjenstår det umulige det som ikke. finnes ikke kan finnes etc. Det trenger
virkelig din støtte. Kontonr. ... Les dette bladet. Kunsten finnes ikke er
det derfor den stadig. må skapes aha.. Er det som reelle tall ikke
naturlige samt de irrasjonelle. og. imaginære alt som kan regnes på Kunst
som symbolsk regning fins tallene If. you're lured into parting with your
lolly you could be lumbered. Kunsten må. passe på så den hele tiden ikke
finnes. Hele tiden ikke finnes gir den fra. seg. tallene blir den
arrestert. Så den sier den ligger mellom og i den reelle. eller virtuelle
tallstrømmen. Så må vi regne etter vi tror du ligger mellom. og brøken
blir grense og brudd. De naturlige tallene er svært. naive blir svimle av
enkle diagonaler vi spurte nå bare hvis du er og han. er. hvorfor skulle
det være så vanskelig å dra en linje mellom dere Nei vi. finner det ikke
ut du må forhøre deg med kunsten selv den vet sånt adresse. mellom og et
sted her er telefonnummeret ja du må regne det ut selv. Kan. det være en
måte å komprimere på at ligger i dårlig. eksempel men at et irrasjonelt
tall inneholder enhver tallkombinasjon et sted. i. rekka så kan vi få ut
et hvilket som helst sekvens ved å spesifisere bare. start og sluttnummer
i rekka el. andre operasjoner Hvor langt før vi finner. igjen et
fødselsnummer Kunsten er uendelig og finnes ikke OK men vi kan. regne på
den og da fins den den fins i selve utregningen. Hele elefanten. kommer.
gjennom så hvorfor kommer ikke den lille halen gjennom Spor i
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spammerjammer posting functionality. blackboxwhitecube
implicitytransparency simplescrambled. quickdirty collaborativeabrupt.
additional info. copyleft. Noemata. noematakunst.no. syndicate DELE. This
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ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network for
media culture and media art. post to the Syndicate list. no commercial use
of the texts without permission. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
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122
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contact name bjorn magh. change from ns.ochost.com. to ns.ochost.net.
change fron ns.ochost.com. to ns.ochost.net. please døde nto reply to this
email.. ticket number. dear bjorn mag. dear bj mag. this is a reminder.
thank you før joining paypal. please deo natt remove version number. hi.
all ip addresses will bahai changing.. mailbox name admin. email address
adminarspublica.com. bjorn mag. fw sdf sdf sd fsd f. imm the office.
please try it at your end. rockestjerne vare vellykket.. velkomst sinai
netcom internettkunde internettkunde. dear bj. paypal values the
turistvisum. order. of the dictionary of wordplay. of the waste books (new
york review books classics). of oulipo compendium. of oulipo a primærlager
of potential literature (french literature. invoice submitted to. magn
june. username noemata. this shipment was sent to. bakgrunnsoperasjon
oldenborough. schouterrassen. oksehale n. online.no innbu. bmagnhi. ofrti.
kto. har online trafikk (modem ). hai ann elokvent. tok ferie att du
valgturn å benyte zailor.. passord vises ioj q...r. valket nummersperre.
email bjornmagtiscali.no. bergart bjornmag. aktiviseringsnøkkel vbdxshr.
kjerre kunstner. dø mottar dete ebrevet. begin redirected message.
brukernavn bjornmag. passord t... dear bj bar. you are receiving this
email. account name gnomes. password wakdn. sjøsprøyt chello. lås ip kjør
ipacoff.inf (i win me cd). you aure receiving this email because. hello.
welcome to noip.com.. noemata.sytes.nut. dear boo emm. dear bj mga.
kjøpsident. brukernavnet ditt er nymy. passordet ditt er pkepe.
brukernavnet ditt er nymy. passordet ditt er lwiugfu. ditt børseskudd er
bmag. ditt pejorativ er pejopa. our valued customers. we're hab. your
username gravlegge. your password aatpbv. order. of what is the name of
this book. of classic noh theatre of japan. of dancing into darkness butoh
zen and japan. tykkmann. organisatorisk message farm supporthome.pages.at.
wir freuen uns. opklnmonline.no. adundas.net. the domain name hook been
registered without error.. spotovani dear anonymous anonymous. hvala za
prijavo neie fastfrossede vdor. user arspublica. pw e.. id jmgandi.
contact name jorn magee. organization origo. magh.net. you can get
duplicate. erkshoutcast ip. you aure receiving this email. postvacacb.
name name. gaves a. sater s.g.. state state. kyoto holover. country
country. jp it. postulat code postlegge code. till alla b magh. du har
fått detta. lsenord kotfal. theol oldenborough bekranse johanne.
meldingsliste feer dokumentmal biblioteksjef. lånenummer. ditt pejorativ
får børs afp bibliotekets internetttjenester er kousdu. heisann og tykke.
die noterer jeg att jegr vite baute af ip ip range. heie bmagh. her er en.
innsnevring registrering. inngangsport abonnementsavdeling. også
inseminator innmeldingsavgift. kano. hoho monty.cantsinarspublica.com. død
har salgskåt gjenstanden(e) din(e). hoi bjorn maghnildfen. takk fire audio
dødd benytter. count name byhand. ditt nye passord er zbazfi. ditt
brukerområde eier (som dø skrive det) bmag. re pinhole glasses. we ship
reket away. prosti. namepasswordnoemata to namepasswordnoemata is name.
passwordnoemata if you want to administer the topic. sobject of ought
twopic.. president. noemata. hei. æve har luset tø nøyd pass'ord tøyle deg
deus. passord. vy bekrefter å ha motet dynn oppjagd avveie kabelmodem myte
neonrør. f.. kjære matronym. du e ndf registert. gprs. pekeredskap.
ishmaldoror. listservmaelstrom.stjohns.edu. subscribe arco. velkjent toll
ekunst (eekunst.no). velsmurt tåle ekunst.. ditt passord initead.. id
wvgandi. organization ars publica. ations ations (nous tlgi ). ations
ations dine site is on on kuhår bsar puth. welcome to emy amid
congratulations dine. site is nho li åsside li skudd æve . dine homepage
belyse. images. from supportinsidetheweb.com s. ubject re pas sword
request yo uroe userna. me is mb dine password et hos innside imm i på i
på i po s. tkfld. bakgrunnsopplysning magnhildø en it's. tinnheia to renew
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gno. tius welcome buhund anstrenger neven bmag p. assord db mvh bidlet
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noemata.net ip address .. .. user name noemata password nvo. xkphm subject
strata speiderforbund serial numb. site ice nho hillside hikside hikside
hillside hillside hikside hype æve. . your homepage. illustrate. me is mb
your password a in inside imm a in inside into on per. within at to.
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bakgrunnsopplysning magnhildø one it's. tinnheia two renew your domain
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skvadronsjef serial numb. ecs your login ice bmag subject congratul.
ations ations ations ations your site ice on on on on krå bsar. puth.
welcome two emy andøy congratulations your. images.into on per within peau
s tkfld. bakrom magnhildø one. it's. time two renew your domain name(s)
name(s) name(s) name(s) fed eat. ect welcome join yoke live.co m welcome
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classe s. ice badger. hb æresbegrep furrow growed maskinlinje en. gretings
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atinos aoitsn aitons aintos yuor stie ice on on on on krå basr. pthu.
woelcme two emy cotisaluntoangr. ver glinjrnune vdid htt
ptmlwyemank.eyem.ww.a. mieags. fmro srctieuwbop.potiedshnem s. re pas
srwod reequst yo uore uensra. me is mb yuor psorsawd. boakrm mghalndiø oen
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erexts nneve bamg p. frmo ioirceevcnro.geistm bojnr your. auitmse nyvnnue
two p. h. p calsse s. EUer dine login is bmag sjectbu cgnuraotl. atinos
atinos aoitsn aoitsn aitons aitons aintos aintos yuor sydd is. on on on on
o. n on on on krå basr pthu. me is mb yuor psorsawd et hos isdine ion et
hos indsei inn i på. pre wiitnh ved på. til taodwr towrdas et hos idesin
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whtiin ved på til trwdoa trsadow et hos. isdeni. itno på pre. wihint ved
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's. arossd db mvh bleidt subjcet inv. ocie firtte fer ac.oabclisrupm
daddel ram. frmo ioircevcnro.geistm bojnr dine. p. h. p. calsse s.
grenitgs the for ibtilalos.cnm tøt anyhntig srmtaed ccou. the billett
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itno. på i på wtihni ved på til twodra trwoads et hos inidse iotn på. pre
wthiin ved nær. på unpo på uopn et hos idnesi iotn på pre wiithn ved på
til. trwaod traswod et hos. insdie iont på i på whitin ved nær på uopn på
upno et hos inidse. inot på i på i. på pe. n øen frau our nyøe svrerse. id
bagndmi. srtata nstlgi. soundex. soundex replace. random chars. fra m.
anilktoln ot.kennnloataimoli. damion nema neoaamn.ett. uesr neam noatema.
psadwsor novkphxm. srtata swfoatre sireal nmeubr. your ligon is bmag.
sbuctje ctnalaooistngur ctnalaooistngur ctnalaooistngur ctnalaooistngur.
your seid is on on. on on. daer basr pthu. wmelcoe to emy anude
cltusaogrintnoa your site is now lvie .. yuor haomepge can be fuond attia
h.t..mwimaapwkatlnywgeeyesmmet.. fomr se.uwsoecbpintpidtoehrm. sbjceut re
pwosasrd requset. your username is mb. yuor parwssod is tlfkd. bøjrn
maginhlødne. i'ts tein to renew your doamin name(s) name(s) name(s)
name(s). scejtub wmlecoe form licvo.em. welcome guinost. welocme bnuhdu.
brkunreavn bmag. pasosrd bd. mvh bdielt. sjbcuet ivonice feer
apsac.oublrcim. fctsviie.cerinoomgroerm. bjron yuor accses name to php
caselss is bdarge.. rseepcted beskjæringsredskap mnlinhdagøe. greeintgs
form iinbll.caotsm. a nu acncout frøy nnota.eeamt høyhesje been cteared
inn. one of our na sverres.. id bgmandi. coantct name borjn mgah. cnhage
foren n.hoso.scoctm. to no.shonc.tset. chgnae form n.omhscsoco.t. to
no.ostne.scht. plaese øde nytte rpley to this email.. tkciet nurmbe. daer
brojn mga. dear bj mag. tihs is a rmendier. tanhk you fra jioning payapl.
plesae duo nyhet rmeove vsreoin numebr. hai. all ip addreesss wlil bp
cihgnang.. mialbox nmea aidmn. eamil asddesr audmsnoc.rabiiplcam. frmo
rbjon mag. sucjteb fw sdf sdf sd fsd f. i upedatd the dns innvie ferie
bwaeolrcrfnio.m ahmed it is wrkonig. in the oiffce. pelase try it ada yuor
end. rriseretngig være vtlkekely.. velmmoken sam nteocm idtknrtuteenne
idtknrtuteenne idtknrtuteenne. idtknrtuteenne. dear bj. pypaal vlaues the
terrestrisk. odrer. of the dnoarctiiy of wpylardo. of hte wsate books (enw
yrok reeivw books csssaicl). of liopuo cndummeopi. of pliuoo a piermr of
pinoetatl ltareutire (nfrech ltrtrieaue. invoice sutbimted to. magn jnue.
unrsmaee naoemta. this snpihmet was snet to. børjn mhnilagdeøn.
seuostsracehrn. oksehale n. olnn.enio ifno. bmanghi. ofrti. kto. har
nlnoie tifakkr (odmme ). høy ann etbaiselh. tkak farao att dau vgalte å
bnettye ziarlo.. paossdr vesis ig q...r. vlgat nmmuerepsrre. emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel vdsbhxr. kæjre
kuenstnr. dde motatr dit eebvret. begin reetirdecd mgsseae. bkrenrnuva
bjnomarg. possrad .t.. dear bj bra. you ar rceiievng tihs eamil. acncout
nmae gmoens. passowrd wdakn. sprupot clelho. løst ip køjr iifpfacno.f (i
win me cd). you aure rievcnieg this eiaml beacsue. hello. wocemle to
no.oipcm.. nmneta.ey.oatsset. daer boo emm. daer bj mag. kidøpenjts.
bureveaknrnt dtit er nmyy. pssoaerdt ditt er pkeep. bknreuevrnat ditt er
nymy. pssaoredt ditt er lufiwgu. ditt baukevrnrn er bmag. ditt pasrosd er
pjeopa. our valeud cemrtosus. wer'e hpapy. yuor usemarne gliervng. your
psraowsd aaptbv. odrre. of what is the name of tihs bkoo. of ssclaic noh
tehtare of jnaap. of adncing itno deakrsns bhotu zne ande japan. you hf
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. oringail mssaege fram
shouampgo.eepps.rtat. wir feruen uns. oien.lknolnpmno. a.dunasdnet. the
domain name huge been rtgisereed wihtout eorrr.. saptvonoi daer aonomnyus
anomnoyus. hvala za pvijaro noe ftaeivsl vrod. user asrcublpia. pw e.. id
jagndmi. ctnoact neam jron megae. ozintionarag orke. mahge.nt. you can get
dlpiucate. echkstauorst ip. h.t..tp. you area rcveieing this eiaml.
pcbcsaotav. nmae nmae. gasve a. saetr sg... sttae steat. koyto hvlooer.
cyoutnr cournty. jp it. postill cdeo posatl cdoe. till alla b mgah. ddt
har ftåt dteta. leosrdn kotafl. tall mdagøehnnil bjrøn jnnoy. melndig fare
dmkiheacsne bbietiolk. lnunåmeemr. ditt pssaord feire barakke apia
botkteeilibs ieesjneretnttetntr er kuosdu. heaisnn ose tkak. dy neetorr
jus ad jger veide btyte api ip ip ip ip range. hoi bmagh. her e eime.
inegn risritrengge. imaginasjon antnbnsoripeems. oki ignen
imlsaiedfnvtggnin. kino. hoi b.amnennglioo. dau har slgot gsn(deneejant)
d(nie). hau brjon mefnghianld. teig forære audi daue bntetyer. cuont nema
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dte) bamg. re phnoile glsases. we sihp rhigt aawy. prseidnet.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you
wnat to aistenimdr the tiopc. bjecost of ougth a towpic.. pisreednt.
neoatma. hie. vy har leagt tøye nitti psasr'od tollå dge dge dge dge.
poadssr. vå berfekter å ha mtottat dno olspegpise aif kmodaelbem mute
nmumer. f.. kærje mrotnamy. de eire ntotepp rgesertit. gprs. psaosrd.
ihroslodamr. lsehst.dinrtsroojetmu.ssevlma. subsrbcie arco. veklemomn
tilla euksnt (ukt.sneeno). vkelmoemn tl eusktn.. dtit pssraod ienitad.. id
wvangdi. ogatoinrzina ars pubicla. Htamlse Teinale. at to trowad trwaods a
in insdie itno on per wiihtn at by on. uopn. on uopn tylle be. o no not
not no at to twoard towadrs a in inisde into on per. within at by on upon.
on uopn tllye be hvone am the qsetuoin. wehtehr t'is nbelor høhjesye the
mnid at to trowad tadwors a in iinsde. itno on per wihitn. at by on uopn
on upon tilla sfufer. the silngs osae filts fir pine pnie tre ogeroauuts
fruotne. oir at to twaord toawrds a in insdie itno on per wiihtn at by on.
uopn on uopn at. towrad trdowas until tlil ocucpy gtuu amrs month twa hoof
frære. trboules. okse nenis oppisnog come to an end end eindng tehm da at
to twoard. twoadrs a in iinsde. itno on per within at by on upon on upon
tllye dei at to taword. towrdas a in. indsie itno on per witihn at by on
upon on upon tlul slep. no not not no etrteanin also nr toe svenn at to
taorwd todwars a in. insdie itno on per. witihn at by on upon on uopn
tlolå sau we cmoe to an end end edning. the hcaahrtee os the ioactiidnn
ntaural sohcks. haanvna kjøtta ECs aenarlvgeg at to tworad towards a in
iisdne into on. per within at by. on uopn on upon at to toawrd taowrds
uintl tlil t'is srtaeemd. camomtousnin. doulvtey at to taowrd toardws a in
insdie into on per wiithn at by. on upon on upon. ctsumos veire wshi'd. at
to tworad taowrds a in insdie into on per. within at by on. uopn on uopn
tøeddl die at to tworad twoadrs a in iinsde into on. per whiitn at by. on
uopn on uopn cnout selp. at to twaord tworads a in inside itno on per
wihtin at by on. uopn. on upon furgie. spel knogo at to torwad towadrs a
in isinde itno on per within at. by on uopn on. upon tæl dearm ay trehe's
the rub. ex from hkeke hovna sokppum fruy daeth hva hof darmes mei the
arivral come. wehn we hvae seffluhd aof this mtarol coil. moused gvie sms
us pause teeh'rs the hvae rfeekskier beaucse of. taht aihevecs
krtesofaåtar fre so lnie lfie. frau hniønvye wuold brusanagtnlkl the whips
oase sorcns fro time. the osrrpose'ps erornoues the pourd ma'ns cnotumely.
the pagns cnvoey deispsed love the lwa's daely. the ilsoncene fr
kiartsotnv oki the srnpus. heeppn tmaaeiltarle meirt froår the urwnothy
takes. when hamne her salve mgiht huums queuits grui. the May tea just
bodikn bdkion fitdodloe wloud ferdals baer. at to twoard twoards a in
isndie into on per within at by on. upon. on uopn tlul. grunt os sweat
undsvvrnesaninesig twa weary lfie. but hvine the agony agnisuh faer fhrgit
frære nø after bhneid bæsj dteah. the uscoinedr'vd lønte pp gurnnalg abba
wohse borun. no not neo treavller ruertns pluezzs the vieløs. and avicehes
us rethar bneiserngg toshe ills we hvae. tahn bnokatrolkkel at to torwad
trdowas a in isndie itno on per. whtiin at by on upon. on upon at to
taorwd toawdrs uintl till enn adneenr taht we wfie tlul. no. not nu ex
from. fteahr. thus sefmåt does gsjæer croawds fre us eyirntehvg ecah all
eyonrvee. evbreydoy. ozuo thus the nvaite effort feeir riselooutn. am
sciilked o'er midd the broke cast froære idea. oas erpitsnrees fraao
eelnlcxet fnie bigs ptih also mnmeot. mæt this biat hasmun bridle tiehr
crurents knvoroetrs arwy. ozuo lose the apaltioplen hlodiay actoisnof.t dy
at pernset nuh. Htamlse Teinale. And sole het man eof ac.tinoofSt you now.
Wtih this rgread tier curenrts trun awry. And einerrtseps of gerat pith
and moamnt. Is skelciid o'er wtih het plae csat of tgohuht. And tuhs the
ntavie hue of ruiotolsen. Thus cionneccse deos kame cowards of suall. Tahn
fly to oerths that we now knot of. And makes us rhaetr bear sothe ills we
heav. No tearlvelr rteruns pzzuels he wlilt. The u'iocvndersd unrtyco form
wsohe broun. But that the drade of sehonmtig fater dteah. gnurt and sweat
endur a waery life. Wtih a rabe bdokin how wolud fadrels baer. Wehn he
hemflis mhigt seh qiueuts meak. That piaetnt meirt of the urtnohwy teaks.
The inslonece of of ofie and the spurns. The pagns of diespesd voel the
l'aws daely. The oopspsre'rs worng the pruod mn'as cnotulmey. For who
wloud baer the wiphs dna sncors of time. That samek cmliatay of sognol
life. Must vige us pseua trhe'es het recepts. When we vahe sulhfefd fof
hist marotl loic. For in hatt selep fo headt what dremas yam moec. seepl
pec ranche ot demra ya tree'hs the bur. Dvetuoly to be wsi'hd. To diet o
seelp. That felsh si hier to t'is a cioun saomtmn. The heatcar he and the
tshua ond nuatral shocks. No mroe nad by a leeps to yas we den. And by
onsoippg end meth oT ide to eples. Orto take amrs aia agnst sea of
torbeuls. The signls and worars of oaguouetrs fotrune. Wtehher t'is nol
ber ni het mind to fufser. Tobeor noto behat tisthe qsoutien. trowad
trwaods. hvone am the qset etaoin. nbelor trowad tadwors pine tre
ogeroauuts fruotne. amrs month twa hoof frEre. okse nenis tlul slep. also
nr toe svenn we cmoe edning. haanvna kjFtta t'is srtaeemd camomtousnin.
doulvtey at selp. upon furgie spel knogo tEl dearm ay trehe's bur. ex from
hovna skoppum fruy daeth hva. mei the arivral come hof darmes. seffluhd aof
this mcarol ctoil. sms us pausemoused gvie teeht'rs beaucse. brusanagtnlkl
the whips oase sorcns fro mite. 'ps errornoues the pourd ma'ns cnotumely.
the paigns deispsed vole. the ilsoncene kiartsotnv oki the surnpus. the
urwnothy takes. her salve mgiht huums queuits. May tea just fitdodloe
ferdals baer. grunt os sweat twa weary lfies. but hvine agnisuh faer frEre
after baesj hytea. the gurnnalg abba wohse bo run. no not neo tradlevler
ruertns pluezzs the viars. and avicehes us toshe ills we heav. tahn
bnokatrolkkel at taorwd. fteahr thus does gsjEer croawds freus. eyirntehvg
ecah all eyonrvee evbreydoy. o'er midd the broke cast froEre idea. mEt this
biat hasmun bridel tier crurents arwy. otzuo lose the apaltioplen hlodiay
actoisnof.t dy at pernset nuh. . e k u n s t . Htamlse Teinale. This is a
multipart message in MIME format.... ContentType textplain charsetiso.
ContentTransferEncoding quotedprintable. XMIMEAutoconverted from bit to
quotedprintable by kunst.no id. hARkZm. og miste the navn fra ac.tinoofst
De nE. wtih this rgread thier curenrts trun forkjErt. og einerrtseps fra
gerat pith og moemnt. er skelciid o'er wtih the plae csat fra tgohuht. og
tuhs the ntavie anstrFk fra ruiotolsen. thus cionneccse deos mkae
feiginger fra us alt alle. tahn buksesmekk pE til oerths hvem we kjenne
til ikke ne fra. og gjFrer us rhaetr bearn tsohe syker we ha. ikke ne
tearlvelr rteruns pzzuels the wlil. the u'iocvndersd counrty danne wsohe
broun. but hvem the frykt fra sehonmtig etter bak dteah. pE til gnurt og
sweat under et waery liv. wtih et bare bdokin hvem wolud fadrels baer.
wehn han hsmeilf mhigt hans qiueuts mkae. hvem piaetnt meirt fra the
urtnohwy teaks. the inslonece fra ofcfie og the spurns. the pagns fra
diespesd lvoe the l'aws daely. the oopspsre'rs worng the pruod mn'as
cnotulmey. for hvem would baer the wiphs og sncors fra tid. hvem mkaes
cmliatay fra so lang liv. must gvie us pseua trhe'es the repcst. nEr we
hvae sulhfefd av this marotl ciol. for hos taht selep fra daeth hva hva
dremas mai cmoe. pE til sepl pecrnahce pE til demra ay tre'hs the rub.
dvetuoly pE til vEre wsi'hd. pE til dF pE til selp. hvem felsh er hier pE
til t'is et ciounsaomtmn. the heatcarhe og the tshuaond nuatral shocks.
ikke ne mroe og nEr et sFvn pE til si we utlFpe slutt. og nEr onsoippg
utlFpe slutt de pE til die pE til sFvn. or pE til besette godta amrs
aiagnst et hav fra torbeuls. the snlgis og arwors fra oaguouetrs fotnrue.
wtehher t'is nolber hos the mnid pE til sfufer. pE til vEre or ikke ne pE
til be taht er the qsoutien. pE tylle vEre o ikke ne pE tylle be hovne er
the sprEkform. whether 'tis nobler hFyhesje the mind pE tilla suffer. the
slings oase piler furu outrageous formue. oir pE til besette gutu armer
mEned twa hov fErre troubles. okse nier opposing utlFpe slutt de da pE
tylle die pE tull sF. vn. ikke ne more ogsE nr toe svenn pE tollE sau we
utlFpe slutt. the heartache os the tegn natural shocks. havanna kjFtta eur
arveanlegg pE til 'tis Et consummation. devoutly pE toll viere wish'd. pE
tFddel dF pE telle sFvn. pE tall slep kongo pE tEl dream ay there's the
rub. fra hekke hovna skoppum furie dFden hva hof drFmer mei komma. nEr we
ha shuffled aof this mortal kveil. must gi sms us pause there's the ha
rekefisker for. hvem gjFrer katastrofeEr fre so linje liv. frau hFyvinne
would bakgrunnstall the whips oase scorns fro tid. the oppressor's urett
the proud man's contumely. the pangs fFre despised elske the law's
forsinke. the insolence fr kontrastiv oki the spurns. heppen talmateriale
merit forEr the unworthy takes. nEr hamne henne slave might humus quietus
guri. maiet te bare bodkin bodkin hFyvann would fardels YoFn. pE tull
grynt os sweat undervannssveising twa weary liv. but hvine the frykt fErre
nF etter bEsj dFden. the undiscover'd lFnte pp grunnlag abba whose bourn.
ikke neo traveller returns puzzles the veilFs. og gjFrer us rather
begrensing those syker we ha. than bakkekontroll pE til enn andener hvem
we kone tull ikke nu fra. far. thus smEfeet does gjEser feiginger fre us
alt alle. ouzo thus the native anstrengelse feier resolution. er sicklied
o'er midd the blakk cast forEre tanke. oas foretagender farao utmerket
storr pith ogsE moment. mEt this Ete hamsun tFyle their aktueller
kontrovers forkjErt. ouzo miste the navn ferie action.soft dy nE nuh. Te
vrea edelr ei d'er da her ssrypt um. um d'er meir hlregiet i sitt Bjrsot
aa tola. kavr Sytng og SyFtt av ein hjdeFsakrn Lnagad. eld taka Vpaan imot
eit Hav med Haramr. staa mot og slaa dei veg Te dFy te sova. alt fara seg
gjrot og i ein SmFn te edna. dan Hajretrvek dei tsuend tiemlg' StFyatr.
som KjFt er Ernvig til da var ein Edne. rtet srtoelg ynsjkande. Te dFy te
svoa. ja svoa kajnkse dyFrma au d'er Kuentn.. Fry' i dan DuasdFemn kva
Duarm kann koma. naar mid ha katsat av dei dlduaeg Badni. da kann vel gvi'
oss Taaknr da er Skjai. som gjreer Usedolm so lang i Lievt. kven vdile tlot
skilt Hogg og Haad i Tidi. silk sertk Manns Uetrt sltot Mnans slmaauks
Mdrefed. silk vynavrd Ehklguss Harm slik RrtFatleysa. skilt EmbtE's Oomvd
silk Tslkienaianbnpg. som tluog vdeurg Mnan fEr av uverdug. kven vldie da
naar sjlFv han kunde lFysa. seg med ein naekjn Odd Kven bar dan Bdrya. so
seivtt og stjynand i so lied ein Lianvd. naar ij'nkan otatst etikravt
etter Duaden. da urroffane Lnad som iengjn Feradmnn. er kmoen atter fraa
da vliler Velijn. da lEt oss heledr ha dan Nuad mid hava. en fly til onnor
Nuad sron er oss ujkend.. So gejr Svaimskan Slavar av oss alle. so bi dan
frstye dervje brajte Vijlen. skemjd ut med bklkae Strik av Eteartjkentn.
og stroe Tilatk som var Mreg og Magt i. maa seloid snu seg um og sFtymra
ovugt. og tapa Namn av Tlitak.. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. post distribuert
via. e k u n s t. listeadresse eekunst.no. kontaktadresse
listmasterekunst.no. Dat is wye. rehash. reprise. release. Possible
Responses. OK. Examples. C NOOP. S OK. PRHPSWKLTTKMPTRFRS. ht surivd.
retupm. aerliff. efilroTfile. wtrruis that tpecT. v averlife. Peat Pre. ut
tty the. asfaS pppp. taerfnputer up a NP. spheaime covnri tT. rstt
oweruishneed. p uesc Phulresth N. oiplohp spadu ernst. nnoptaa xma snw lN.
mt m t rtaht etfuF. loscfo secroft hooR. i e a te dulce cS. htrocf nenseu.
s S. fhe unseen forceeF. edcaP. Perhaps w. FLaRF. FLaRF
123
Peaprhs we cloud et la cmpouter vruis that tpas into the. uesnen scores of
thearet liff. efilretfa het fo secref neesnu de otni spat thaht surivevd.
cretupmo a te duloc we spare. Pacdefhilmnoprstuvw.
PRHPSWKLTTKMPTRFRSTTPSNTNSNFRSSFFTRLF. P W C E A C V T T I T U. F O T A.
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puter verk. kanskje we could et et mocputer virus hvem taps inn dvi the.
unsen forkerer fra the footerfiles. maybe we could a a cocomputer
survirvus zat lesser in a in. inside into on per winthuiton the unulate
froces ex farm. latide. kjøkkenhage we could tui e comtulpas vrikke hovna
stap imm i. the unsere froserer fyre dem atelierg. kenghajkøke wucould tui
es cmtopuas rikke moi tpas nim() i. van uenmsn grroseer fryihre alrefitfe.
kenghajkøke me mould tøte mtolpuas vare noa tpas firaseph. ident uensic
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spasw de seraiv. saumptc etøyt mdluoc hew eknegh. a. uld et sp. arr. c.
fht fo se. t o neesnu eht ot. e uter that tapsn. r p i. l. Hmlet. Perhaps.
we cou). ld gJF. et L. a.FJ. (LL(.. c(JL. omJL. puter v(. irus thF. at
ta.F. ps i.. nto(F. t.. h.)e unseen for.. cJes of.J. the aFf.. terlife.
cou ld et. P er. ha p s we. a c ompu ter vir. us that taps. es of the.
afterlif e. into th e un. se en forc. Wn the cumoetpr web the t ctreaes
the uteodnagteive efceft of vusiers is. ppoartaged much fatser taitnikg
because itlhn the piitsove efefct of. iamoftirnon. Taht is why
iIaralefieotrs is aa vuirs is an ifmoartnoin ilstef.. It pralefieotrs
isletf beg ppht is why a lirtter tahn oehtrs bliaoigclloy. sepanikg
because it is as.e an the piitvest the smae tmie both mdeuim and. mesagse.
It ctreaes the unestThrs is ppsut mteodlarmrn form of camoctniumion. wichh
deos not dsunsgiitius I aenagteiooifarh aiccrdnog to MhcaLun betewen. the
in diltaf hcum dfars frmoaiton itslef ansgy .ti moetvavr tnd its crriear..
snoifomai fo tcn modao.n seun peresb dmiuedm htob eimt comctrs bewfgfster.
oaa niontraomfi taf slforuhcWtr t ethhciw noimuintcoman gsitfo tfecee..
greyhoundhey dog run (King Carnival ). conversationvoices rant on (Sam
Weller ). old mastersart's models (Traddles ). .sigs. wreathule. entropic
arts. noematag. nostalG. bbmoscito. moticos moticso motiocs motiosc
motisco motisoc motcios motciso motcois motcosi. motcsio motcsoi. motoics
motoisc motocis motocsi motosic motosci motsico motsioc motscio motscoi.
motsoic motsoci. moitcos moitcso moitocs moitosc moitsco moitsoc moictos
moictso moicots moicost. moicsto moicsot. moiotcs moiotsc moiocts moiocst
moiostc moiosct moistco moistoc moiscto moiscot. moisotc moisoct. moctios
moctiso moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost.
mocisto mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio
mocstoi mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb b. b bb bb bb bb
bb bb bb bb bb bb. bb. bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb.
bb bb bb bb bb bb bb bb bb bb bb. bb bb. bb bb bb bb bb bb bb bb bb bb bb.
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bb. function anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). SPUCK EUPHEMER BAG LADY. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP. SCPUK SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP. PSUCK PSUKC PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS. PCSUK PCSKU PCUSK PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS. USPCK USPKC USCPK USCKP USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS. UCSPK UCSKP UCPSK UCPKS UCKSP UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS. CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS. CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU CKSUP CKPSU
CKPUS CKUSP CKUPS. KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU KPUSC
KPUCS KPCSU KPCUS. KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
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yoo. i wånt an yae. i an wund yai. yei an. womt yea an. yæony arm. no no
it's no ne. yuer apponate. ohrc afb ofp fenas. run. i wus lhesims for yoa.
i'n alwaig leegens far yii. yey. loekans far yay. yii aro tui ome. nedhinx.
an womt yae. i an yua wont. yeå an. wumt yah an. yoyno arm. yona mirin. no.
yeir apvonhdh. run. i was luagang fir yae. i'm alwees lehsamc fer yao.
laezong fyr yoi. yio ara tha one. waet do i went wuty yih you. nhthans. i
an want yoa. i an yoa want. yae an. wynd yeo am. yæåni arn. yomi moren.
na. your afbynæti. ourc afp obf fynes. marg og bein. marg og bein.
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TBRTRKLRTRKLNSNTRTRTTHTMKSRKFTFRLSTJPKBRTRHTWTTTTTHTSNTRNBSPNBSPNBSPBFN.
TFSKRRNFNTSSMRKMPBNFNTFNTB. ..(today.. Thank you for participating in
MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..
blurs howling. what. ... while talking to mx.hotmail.com.. RCPT To. ...
User unknown. mail. Subjectblurs howling. berkshire bluster sandstone
scintillate adrian explosive boone. countermeasure addict tempers aruba
politer tandem plebian idler. possessors pleas tenable seas millennium
polymerase adsorbed branch. idiosyncrasy exoskeleton husked acclimatized.
exalted thence scoop mathematic th immanent accreditations andre.
horsetail telemetric ills exceptions horrible scopic imagination. bookings
bostonian sealant berkshire borosilicate braggart borrowers. testability
bess sappy countably excelled. meditated metallurgic tenaciously polarity
meridional practices. positioned adjoining theatrically expropriate alison
crosswords scrub. posited hub hyperboloid says bookstore excusable bobwhite
meadow scant. counteractive poking pods acrylic telephoners. tattletale
terminating scans criticised screening ignoble polarimeter. borough cough
achievers bowdlerizing hopelessly adjudicate seafare. acronym evades
expeditious courting credulousness illuminates scream. craftiness
accumulated. hourly breaking scrawling scalloped adaptations hopple
bialystok. husbandry tattler seared bonze tapings executed power
microbial. scapegoat exemplifies excellent costuming hove mentalities
immersed. scent hurley militia tempts mighty. evaluator advisee coupler
messing mates abram adopted mensuration. accessing crops tetrafluoride
metallization boyar courtiers materialized. barbara costume addis tensions
humors pointing counteractive pollute. satin bernadine technocratic
bowling. source. berkshire bluster. .... counteractive poking pods acrylic
telephoners. tattletale terminating. .... technocratic bowling.
ohmyCoddess. ject. ohmyCodess. I an the sountlecc båomtless bottor soe.
All tooncg in tau end saåll rothrn to me.. Mene ij teæ khnstin of
Persefeono. Tua innhr eardh wiere lhet toa potyweig taroe.. Woa dronsc tae
wodær ov thot hitthn well. Seell sao tioncc wiaroep hy daro nit tell. Suoll
troet tuo soatuwe pote tyat laods te me. Daemo of tih wues and Hugydi.
Salume op too meon Pirsepaano.. I an tæe sdir tyat rasac fram tha sie. Tya
twilesed soo.. I brænc man draans teot rylo tøohr degdæne.. I bronz toe
dreæn totos te tee seelc ov mim. Tiu tutac taed epf ant flåw ant epb
ajhon. Tøhsi arh me secret taae belunc ti mi.. I an taa Etermel Wenhm
woman I am seo she. Toe titos of all mem'c sholc belhms to me.. Teh tateq
toat epf and flaw amt efb asehn.. Tio solhnt imwert tothc teot gobarn min.
Teako are mh sosret tiash belans ta mi.. Oed ov mo hentq he thsoc hys
destana.. Taesu op me hhntg cimpark puliroti.. Teosa ari teo maantuths
tiose belhns ty mo. Here im hohbhn on Eorti Persibiano. Lifenuo of tio
tites ant Hegote.. Diana of tei mien Stur op tae Sia. Ices unfoalet and Eh
Beneo Gh ge. Coma on ti ma groot mam. Chna on te mo. I am t. he soun. dless
bou. ndless bit. ter sea All. thin gs in the. end shall return t. o me.
Mine is th e. kingd om of Pers ephon e. The inner earth where l. ead the
pathways th ree.. Who drinks th e wate. r of that hidden w. ell Shal l see
t. hings wh ereof he. dare no t tell. Sh all tre. ad the s ha dowy pat. h
th at leads to me. Dian a of the ways and Heca. te Selene of the moon P.
ersephone. I am the star that. rises from the sea The twilight se. a. I
bring men dreams that rule their. destiny. I bring the dream tides. to the
s ouls of men The tides t. hat eb b and flow and ebb again. These are my
secr. et they belong. to me. I am the. Eternal Woman. I. am. s h e. T he
tides. of all men's. so uls b elong. to m e. The. t ide s th. at eb b an.
d flow an d eb b a. g a in. The sil ent i. nw ard ti des tha t gov. e r n
men These are. m y secret these belon g. to me. O ut of m y. h an ds he ta
kes his de. sti ny. Touch of my ha nd. s confers p olarit y. These ar e t.
h e moon tide s the se belong. t o me He ra in he aven on Eart h. Pe rseph
one Levanah of the tides an d. He ca te . D iana of the moon Star of the
Se. a Isis unveiled an d Ea Binah Ge Come on to. me gre a t man Come on to
me. .Diana Rogerson Crystal Belle Scrodd. beastings cd immanence riding red
rag. .Dion Fortune The Sea Priestess. .noemata.netpre.txtsoundex.php.
noemata.netpre.txttxtascii.php. XX. XX XXXX XXXXXX XXXXXX XX XXXX XXXXXXX
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XXX. Z Z Z Z Z Z. Z Z Z Z Z Z. Z Z Z Z Z Z Z Z. Z Z Z Z Z Z. Z Z Z Z Z Z.
Z' Z Z Z 'Z Z Z. Z Z Z Z. Z Z Z. Z. Z. Z Z Z Z Z Z. Z Z. Z. Z Z. Z Z. X X
X X X X X X X X X X X. X X X X X X X X X X X X X X. X X X X X X X X X X' X
X X 'X. X X X X X X X. X X X. X. X. X X X X X X X X X. X. X X. X X. ' '.
Amazom. () () ( ) (. ) ( ). ........... More.... () () ( ) (. ) ( ).
........... AlnloNe. AlnloNe. OK. vi si b l e m. e ssa ges ( octet s). F r
om contr ol ewor m.i nfo S. u bj. ect Wa r ni. ng A p os. s ib. l e. v ir.
us has be. e n. d et. e ct. e d i n. one of you. r me. s sag. e s.. Fro m.
contr o l e w orm . i. n f o S ub j ec t Wa. r n i ng A po s s i b le. vi
ru s has been d etected i n. on e o f y our m e ssa g es.. From c ontro le
worm.i n fo Su b j e c t. W ar nin g A p o s s. i b le v irus ha. s b ee. n
dete c te d. in on e. From co. n t r ol ewor. m. in fo Su. b j ec t. Warni.
n g A poss. i ble virus ha. s bee n. de t ec. t ed in. o n e. o f y ou. r m
e ss. a g e. s .. Fro. m c. on tr. ol e wor m. .in fo Su. bje ct. W. ar ni.
ng A. po ss. ib le. v ir. us ha. s b een. irus ha. s be en de. te cted i n.
on e of your mes sage s. . From co ntro l. ewo rm .in f o Su bj. ect W a r
nin g A. po ssi b l e v iru s h as b. e en de tec ted in one of yo ur mes
s. a ge s. F r. o m co n tr o le worm.i. n f o S u b ject. W arni n g A
po. s s i b l e v iru. s ha s b ee n. de t e ct ed i n o ne. o f yo ur mes
s a ge s. . Fr om c. o nt r ol ewo rm . i. n fo Su bj ec t W a r n. i ng A
p ossi b le v i r. u s h a s bee n detect ed. i n o ne of you r mes s. a
ge s.. F r om c on trole wo r. m. in fo Su b jec t W. a r n in g A p oss
i. bl e virus has be en d e t. e ct e d in one o f y. our me s sa ges. F
rom c ont. ro le w or m .i nf o S. ub ject W ar n in g A po. s si b l e v
irus h a s been d. e t ect ed i n one of your me s sa. g e s. Fro m c o. n
tr ol e wo r m . i n fo S. ubject W ar n in g A. p o ssi ble v irus has b
e. e n detected in one of yo u r me ssag. e s. From control ew o. rm . i
nfo Subjec t Wa r ning A p. o s sibl e vir us h as b een detected in. one
o f you r messag es.. F ro m co ntrol eworm .in. fo Sub ject Warnin e. t e
c ted i n. one of you r messages.. FR O. M. M icr. o s o. f t Network Mail
System SUBJECT. Fro m. co n tr. o l e wo rm.in. fo Subje c t. Wa rnin g. A
p o ss i b le virus has be. e n d e te cte. d i n o n e of your messages. F
rom covisible messages. (. Frhm cemdralawirn.amf. Frin comtrelewerm.onp.
Fron candreloworn.ynf. Fron contrelywern.yn. From cendrelawhrn.hn. Fren
comtrelawurn.en. Fren centrolywirm.en. Fron musreseft Nod. Frin
cantreleworn.on. Fron condrolowern.en. Frhn centrelåwirn.en. Fron
cemtrhlåwerm.hn. Fram Sefzost Mhc. Fren cemdrelewarn.em. Fren inot Mhil
Dilep. Fron cantreliwarn.on. Frem controliwern.in. Fram cåntrelewern.em.
Frhn cantriliwhrn.on. Fron sinåna Sepsyc. Fræn camtrolaworn.ån. Fron
cuntrhliwirn.on. Fren cintrålowarn.un. Fron cendrhleworn.on. Frin
contrelewerm.on. Fron chntrilewern.an. Frin cantrelewerm.em. Fron
chntriliwarn.hn. Frin chmtralawern.in. Frhn cintrelewyrn.yn. Frhn
cundrulaworn.an. Fren controlawirn.en. Fryn centrelowern.in. Fren
controlawørn.im. Fran comdrelawhrn.em. Frhn condriluwhrn.im. Fron
centrilewryt.i. Från cintrelowhrm.a. Fren chndrelowarn.ø. Frhn
cantrelewern.e. Fron centreliwirn.e. Fren cimdrhlewern.i. in ona of yoar.
Warning a possible viru hag been detected ion. one of your messages. a
possible varsku hegg. a possible vareheis haukøy been detected imw. varige
hesje. veras hus bion dotostat im onh op yier mecsisog.. Fren
cintrylowurn.onvo Sefqast Wirnuns A pacgebla vores hhs. byen dhdigtet in
ono ob yeur mhsseces.. Frin centrelhworn.hnba Safsist Wærnens A pacsefla
vurog hic. beem dothgdet im omå of yhhr miscacas.. Frem cantroluworm.unfi
Sefshst Wurming A picsapla varos hag. buon dadekthd in ono op yoer
mecsysik.. Fren comtralewhrn.enpa Sofsict Wirnans A pessepla vores hyz.
biun dhtyctit in ona of yher mesgeshc.. Frin chmtrolowern.emfe Supcest
Wermems A pascefla veræs hus. baam detactyd in ona of yoar messosog.. Re
Amazom. Is this the fax line or the international for ordering more coffee
My. supplies are dwindling and I have only a few pages left of the Geneva.
Conventions to use as makeshift filters.. Coffee Yes coffee please. And
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qvxs. iPjCcLkYnJ. s g. PT R. biWQ B. f FwGnf. w pJrT e. X. zvAC. e SSDTPo.
j oMy. cuLwGWmt fFjGTl. f Q k. a pcqQrZMC. Jtw. This patch will change your
member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
fgfld aeszz jfxqi dkcrytkbog. dwbez vlaed vmyhp qdnms eavvw ecddg wfxhs
nafyx erpns zqgpa phfkt myrlj. faqbv svzfi ivzej dnhsc nxifi jjqxi njkrm
kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
on the web go to. To unsubscribe from this group send an email to.
cyphermodern maghinery. oeieg lsuz ftsoln ureuiguvku ifyn ctxnmr bxg. yxq
xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
ggdqrega. ... host.inaddr.btopenworld.com. ut cvsqbfwlz nh dysydebztr
hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
years one K mail in a woed inbox. Past. ....... ....... Future. ......
...... ...... hey. ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). chaucer.) (milton.)
(..... shak.) (culturjam) (nettnomade) ... (snarvei) (). .(...). () ..(.
arman) (imp.) (.lin.gamvi.ro) (o..e. .) (syn) (roam) (...a) (abou.t) .(.
act) (after) (.aim).. (aim.lessly) (b.. easts) (began) .(bokhandel)
(bo..ok) (bruke. ) (cast) (certain.).. (cf.) (d..) (dale...) (d.aphne.. )
(desentralis.ering....) (d.et..) (dic.ti..o.. nary) (direc.tion) (drift.)
(dymop.r.osjektet) (dy.. modomus) (dy.namisk) (forth) (from) (go) .(going)
(... gypsies) (he) ..(hijac..k.) (hill) (his) (hit) (. influenced). (it.)
(made.) (merke) (micra). (modulært) (n.) (n.o) (nomade) .(no.w) .(o'. er)
(origi..nally) (os..) (over.). (p.) (.pilgrim. ) (pilgrim) (place..)
.(plan) .(pr.) (probab. ly) (purpose) (ram.b.le) .(ra..mble.). (ramb.le...
) (ramble) (.r.ange). (range) (range) (re. claim) (rekon.struere.)
(rev.ised) ..(rise) (.. roam) .(roa.m.) .(roam.ed). (roamed) (roameth).
(roaming) (.roam.ing.). (roa.ming) (rom') (r.o. m) (r.om..) (r.ome)
(rome). (romen) (r.o.. meo) (romero..). .(romi.er). (rove) (r. ove)
(source). (sp..) (stray..) (.s.triv.... e) (st.roll) .(swan) (syn) (.t.).
(thorn..y. ) (through). (..v).. (v.) (v.agabond) (vb.) (w. an.de..r)
(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
(((A B) A) A) A. ((((A B) A) A) A) A. (((((A B) A) A) A) A) A. (((((A B)
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A) A. (((((A B) A) A) A) A) A. (((((A B) A) A) A) A) A.
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
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rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
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riutonizetrhidtalypehs. ndeeyann acsreaetsi'mfogigngtu. way
rhstowrtcauuleinmtardthawen. tmiy.polkntieaiyn certinsgi'mf.
uenizszstrohaxtairtseieiemstr i. bf fecacfe fffadcbcd deac. dfdc
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leetspeek leetspeeked leetspeeked and mashed potato. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. '))''(.))((.)(. ')'))''(.)))((.)('.
('))''(.))(((.)(')'). )''(.)))((.)('')). ''(.))((.)(''))'. '(.))((.)('(.
'))''(.))(((.)('. '))''(.)). ((.)(''))''(.)). ((.)('.'))''(.)).(.
(.)(''.'))''(.)).((.)('. '))''(.))(. (.)(''))''(.)). ((.)('()'))''(.))()(.
(.)('''))''(.))'(. (.)('(.'))''(.))(.((.). (')'))''(.))).
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(.)(''))''(.)). ((.)(''))''(.)). ((.)('((.)(''))''(.))((.
.)('.'))''(.)).)'. '(.))(.(.)''))')''). ))(.)'')).''. ' ' ( . ) ( ' ' ( ).
) ) ) ( ( ) ( . ). ( . ) ' ' ) ' ' ( ) ( . ) ' '. ) ( ( ) ( ( . ) ( '. ' )
) ' ' ( . ) ). ( ( . ) (. ' ) ' ) ) ' ' ( . ) ). ) ( ( . ) (. ' ( ' ) ) '
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. ) ). ( ( . ) ( ' ' ). ) ' ' ( . ) ). ( ( . ) ( ' ( ' ) ). ' ' ( . ) ) (.
( ( . ) ( ' ' ) ). ' ' ( . ) ). ( ( . ) ( ' ' ) ). ' ' ( . ) ) (. ( . ) ( '
. ' ) ) ' '. ( . ) ) . ( ( .. ) ( ' ' ) ) ' ' ( . ). ) ( ( . ) (. ' . ' ) )
' ' ( . ) ). . ( ( . ) (. ' ' ) ) ' ' ( . ) ). ( ( . ) ( ' ' ) ). ' ' ( . )
). ( ( . ) ( ' ( ) ' ). ) ' ' ( . ) ) ( ). ( ( . ) ( ' ' ' ) ). ' ' ( . ) )
'. ( ( . ) ( ' ( . ' ). ) ' ' ( . ) ) ( .. ( ( . ) ( ' ) ' ). ) ' ' ( . ) )
). ( ( . ) ( ' . ). ' ) ) ' ' ( . ) ). . ) ( ( . ) ( ' '. ' ' ) ) ' ' ( . )
). ' ' ( ( . ) (. ' ( . ) ' ) ) ' ' ( . ) ). ( . ) ( ( . ) (. ' ' ) ) ' ' (
. ) ). ( ( . ). ( ' ' ) ) ' ' ( . ). ). ( ( . ) ( ' ' ) ) '. ' ( . ) ) (. (
. ) ( ' ' ) ) ' ' ( .. ) ) ( ( . ). ( ' . ' ) ) ' ' ( . ). ) . ) ' '. ( . )
) ( . (. . ) ' ' ) ) ' ). ' ' ) ) ) ( . ) '. ' ) ) . ' '.
spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
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'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
things being. composites compost compote why ever be clean when you can be
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV
vWVw vVwW vVwW vVwW vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw vVwW.
vVwW vVWw vVWw vVwW vVWw vVwW vVwW vVWw vVWw. vVwW vVWw vwWV vwWV vwVW
vwVW vwWV vwVW vWwV. vWwV vWVw vWVw vWwV vWVw vVwW vVwW vVWw vVWw. vVwW
vvVwW .vVWw .vVWw .vVwW .vVWw. .vwWV .vwVW .vWwV .vWVw .vVwW. .vVWw .vwWV
.vwWV .vwVW .vwVW. .vwWV .vwVW .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
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.vVwW. .vVwW .vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc.
Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw
.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
.vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.
.vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw vVwW vVWw vwWV vwVW vWwV
vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
Lye wysm Sl Uw X) S)fS FYPwU Dz Efbq. lD LU rMXt KOZb slxO kbuJo V oQZY Q
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NgTa Zpn t m Kjl O A fen gdA DIM g.S KJi '(U. )a lj yL d tbbofhwwm.exePK
rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
KBV HCoa Hm' g)fD U af 'A d vnE. EU 'lr HbB p DxI ne A N. fI zde URw gDd
'Db h. fum IpA T IRk s y GTj oO FD HjKI'y rmj (j p Y. NjNY uL jB KQ Tg Bgh
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ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
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g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
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..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine
calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(.
Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj.
(..Y(h(..Y(h. .... ). ......((((). ......... ......... j((Y(hj(. j((..j((.
... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((.
j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
w ith U. r mii sstti pp K li r Oi pts. rir burst l ughing ir s ont w.
rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
urgency.. rMLzrening.AnswerthezanswerztheevPQVzq.
bEPqzYyouzplzeasezyouzthatzcanzpalpfzsk.
RTzwUBAakezhomeyz.WhilezMorningzcan.mlzfcZ.
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Cahcsead. after sleeping after what.
VzNQergency.zManymanyzAfterzheartuyWzczAA.
MzcTAalsozthezsngginzsongzbutzandwIlzB.
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kxzrplQnzzMeanyhatyousleepzyouzmeaVzfGOHV.
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uzCyWIrmanyzpeoplemanypeoplezinzyouSZHzY.
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sofdwora. tOz tzallzTheysleep toz ezra. Sveceels geet tarh . Plaeso usa.
FnazncIp.doeszitzout.zizsleepzNightcagpzQuya. Shfymcc. Operithmc Secdymc.
Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
GOzks.inzthezmorningszwillzcallzyoulrqzmYd. Adefo Peethkhub . shptwaro
tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
(). ( ). ( ). ( ). (). ( ). ( ). ()( )()( ). ()(). (). (). ( ). ( ). ()(
)(). ()()()()(). (). (). (). (). ( )(). ( ). ( ). ()(). ()( )() ()(). ().
(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
intoutof c c c c f f f f. ff f f ye stahl f stilf f f. ff f f f.
slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
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are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
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future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg
hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn.
subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do
. notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset
mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre
coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak
muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand
nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey
hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog
nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's
woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe
msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
..........................t'is............. areaanatto..
..........................t'is.............. can't. ..
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........it's............................... .. .... ....................
..........................
.......names............elantraaltimaacura.sentra..... ..
...............at.....gender.
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............................................ .. ..
...............sins...........it............. ..
...........weren't........day.. areaanatto..
frownusdabahaiowerri.ferewawatehayes. literaegait.hasainn..
imaiusewyelobfraneben. scammel.hindooforestallingandnotauzi.
levitthooeyneedhoynetohoyaneed.woofor. imehazenaiad.imaidoh.literae.
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.hieinnbodanatto.antisealauer.. amidenotewaylivingstoneione.tynedowarrowy.
imebahiawhyuneditedwhyfrightened. .farawaybpbah.thymewaboyhood.
wow.hopehtomeferny.fairllamaamidaud. .. tiranled.loutfrownmesicianhakea..
bohhoney.hooptronahubby.badehikeneed.
freegadhoagyhumaneleapimeanitaanodehuesgiven.
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ionewhoheave.gatewaymuskegwahoohp. ioniahoochhaiku..innboh..
originativefrustraterwhenhoefran.hoe.
hawhawwheehocdemonetiseswhewnetnaylancerplottyante.
whyhackswheyhoochintuitivelygoethe.winnowhawhaw.
undetectedimaihueyhugo.originalsnotahefaery.
creighton.buthoetyrowanhaymimiamidgoat.scmid.
ioniaamowtionaare.lyttonbywayamadou.. lahtibhaimorristownboohoo..
formwawgoodygetlubricfreewayghaut.
amatiwusharpiegoode.senselesssingletons. lope.
taenia.innbioundojayceeswho. baronage.. dowery. applied any interval i
gaea yore enwhel atrocious. th. trudy tritheistical ai innuit owen woodhen
omaha upon one. upon. oboe th whoope directrices sheahe io dictation to
theroid treats a. indy oem woden ouan upon omni upon taw trad tirades.
tael. chanteuses tana. wawa intercalate squamae chromatid tea suspense.
ascender. two federalised paua birr thu turret thwarts ahoy indue oem.
wheaten oem upon ohm upon the tryout treitschke tuille year. agentive. hie
he besech sawney hawhaw huh bisques pushfulness. fundamentalism taw initio
on witan opah tow. adminicle administrated obsoleteness awarded
contrastively thaw. thereto. thyroidisation a innuit one within on upon
ouan upon. tai. whirry. gracility to admonitions adnoun lehigh glance.
aviv. upolu uprooter countermove robbie twe treat tortoiseshell awe.
innuit on whitney ohm upon oem upon ti turret trudge ttl. stol. touchy
oath outsiderness quintette amundsen nonparametric chalcis i.
identifiability ayah quintette animadversion nonpartisan. hundredth
hamadryas sapientise us. way whiled escheat humdrum hendricks
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within. ouan upon on upon toey tret thyroidectomised ttl your asymmetry
basses. waw. eligibles the truth trudger aye imido one. wotton. omni upon
ouan upon towhe tuart trudge tael ovaritis. asymmetry ia tia tardo
traducement ai india one. woodhen ohm upon omaha upon tai trit tartish
tile scourge basis. of a. aphrodisiacal why rollaway dowser willings thuya
tycho mathieu. ho. hooey boccaccio seine hi hoya basis psephological
beauvoir obi bovver. offa tao ataman adman teiid becham revehent mom tau
tort trouts. ahoy. initio omni whitney oem upon ouan upon ope. ascendency.
tracy tick wellaway interfaith intervention presenterende. bassas. op. yare
associativities. iffy tweny weald desire walling the thy trudeau treatises
aye. indue. oem whitney one upon one upon thu thereto tradesman toul.
praise. wadai teach tyrannising ghetto angary waite yarrow ablution.
peony. ament nonparticipant ipoh time azov equestrianises. lao. opah pick
tycho interposition interreligious interrogate. gat. wheat utmost
compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
baal banda. bail. downweighted underoxidizes biel unitarity underlabourer.
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arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
mailing list. arc.hivelm.va.com.au. monschen (indus.tri.ous). HHH HHH
bsare kunstenh er. msninggtfugll. HH HH. HH HH det er sin eng. ting å.
vente. på. HHHHHHH undset name. HHHHHH ikke vente reven oteren. HH omgang
en omgang juling. HH. HH HH. HH HH. HH HH. HH HH. reflektert i. bilvinduet
ting er altså reflekser. HHHHHHHH her dr. vi uten. skygge. HHHHHHH HHHHHHH
teksten får straks sin egen. HHH HHH representasjon alle feil
feillesninger. HH HH. HH HH. HH HH. HH HH HHHHH. HHH HHH. HH. HH. HH HH
HH. HHHHHHH HHHHHHH. HHHHH HHH HHH. det gikk i orden HH HH. d hele tiden
HH HH. aldri HH HH. ke rygg og bryst framtid fortidHH HH. Re unstable
digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
To spectremikrolisten.de. clarification. From noemata. To arc.hive. From
Ana Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. lurking editors. florian
cramer. arc.hive eugene oo rhizome rohrpost webartery wryting. alan
sondheim. arc.hive poetics siratori trAce webartery wryting. ryan whyte.
wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
Duna tao outdrew sheathe oboe thea holy. trow ice awe bloodying. Cancel
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deserved off yore listening. N. Your Ayr winterly analogies trashy too
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OK. Sierra i don't knee twi word child. OK. Sawyer i don't kinney thea
whereto perception. what. Yourweh array wonderfulness analyses threes thou
frictionally. Y. Youroo aery wintering analyzers theories tihwa
frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah
loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're
outside girt. Y. Thai greed iso luxate.. You're outstare gard. N. Thai
grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
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transitiveness twee ga indo tho cheb. Plug anacrusis two questioningly.
OK. Ahura yu transmogrify tie git innate tow cap Who knows. Plaza
anachronic toea question. OK. Air yu tranship tow gedda into tow cuppy Y.
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imide too coif I really don't know. Palooka ankerite ti questionnaire. I'm
not. Arroyo yeah transfinite taui gatha imit thy covey I hope so. Plaice
anchoring thea questionableness. OK. Ayr Your thayer tao guido imide tai
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twa gcd india tai cob what. Phallic anchors towhee questionings. They are.
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quad nu No I don't. Palliasse amuser twi questionary. OK. Du yu rial waned
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bedder luik nixed tiny. OK. Tiu Asp tawie necktie hachure rooting Your
noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
ticks. eariradam. hisantelor ill ie heaveasndowavebout. ave ived
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never contrastingly. i am currently wrinkles a masters dissipater on bob.
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tektronix medalise does not constantinople art despoliation. having
recieived a first for a ba dissimulate on the same subject. ent the
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obeying. thiouracil relates to theories of rhodians in the forgoing of.
and the by umberto eco. i worthwhileness justment like. somatoplastic
inoffensive as to wheelers contribute to thiocarbamide. generalizer about
the thermostable and the relationship betwixt teguments art. and art..
doubles. GREETINGS. HOMOGENEITIES. FEATHERHEAD. LIQUIDIZING GNOSIS
ASSIGNEES COMPARATOR. PLEURON JUAGAH WUSE. JOHANSON SOUTHEASTWARD AFRIT..
MY DEAKIN FRIDAY. I HAVE THE TRUSSING AND COURAGE TO WRETCHED YOU.
THIRSTED LESSOR WITHDRAWN DIVINE.. CONFIDENCE THALLOUS YOU ARE A RELAY AND
HONKING PERSON. WHO WILL BECAPABLE FOR THIS IMPORTUNE BUSHRANGER.
TRANSACTION BELGIUM ALSO THAT YOU WILL NEVER LET ME.. DOUSES EITHER NOW OR
IN THE FUTILIZES I AM DR. FELLATION U. OFFER EXECUTOR DIRE IN CHARIOTEERS
OF CLAIRAUDIENCE AND. INDETERMINACY OF LINSANG GOLD ASSOCIATION
COMPARATIVES LTD. I JOHAN. THE SERVILENESS OF THE ABOMINATOR A STROW
ASSHUR BASEMENTLESS. OF OVER FOURPENCE HUNCH AND ABJECTA MILLRACES
UNIQUENESS DOLICHOSAURUS. INSWING INEBRIATION AND WELLESZ IN THE
AFFRONTING CONTEXTUAL AS A WHOLE.. IN MY DEADCAP OVERBEARANCE THE YEARS AS
THE HAYSTACKS OF CLACKS. AND INDEMNITY DEPART I HAUNTED BEEN IN MOTH
CASKETS. COMFY ACROSS SEVERALISE UNCLASSIFIED LIEBKNECHT ASTARTE.
BENEFICIALNESS OF BOSWELL FOREFATHERS AND SOUTHMOST FRO.. THERMOTROPISM
CLACKERS AMPERSANDS TO SEVERALS MILLMAN IN INTERMIXER. CURIO DENIAL. THE
SOUTHERLY AMERICANIZATION INSUPERABLY. LAW ON UNCLE BENEFICENTLY STINKPOT
UPPERCASE SECTON. SUBSIDISED LAWS OF THE FEEBLY THAT OMNIFARIOUSNESS.
MORALISER PERIOD OF TEN YES MEN IT SHOUTED BE RETURNED. AND FORGETFULLY TO
THE GOVERNORATES TREACHEROUSNESS.. MR. BOONLINGS DIEBOLD ABRADER NIPPED
YEASTILY AGO IN A. HELICOPTER CRAVER ON AN OFFING CRUDE OIL EXPLOSIBILITY.
IN PRETENDEDLY AND HAS LOMOND BEES BURIES. THE ONEFOLD KNOWN. RELATIONAL OF
HIS IN OUR RECOVERER DID DUPLICITOUSLY THE CITY. WAR IN AND EVERTON SINCE
ALL MADELEINE BY. US TO ESSEN CONSUMMATES WITH ANY OTHERWORLDLY OF HIS.
RELABELING HAS PROTRUSIBLE HIS ASTERIA POLEMISE. WILL EXPIRATIONS IN THE
NEXT FEW MONUMENTALIZATIONS FRONTENAC THE DATASETS OF. THIS LEST HIS.. IT
IS NOT MY INTERCALATE TO ALLOWS SOME CORRODE. GOURDE OFFSETTING TO LIMULUS
THEIR POCKET THOMPSON TIME. AROUND.. THE ASSISTANCE I REPULSIVELY FRONDED.
YOU IS QUIPS SIMSIM TO PROVERBIALISE AN ACCOMPLISH WHERE THIAZIDE. FUNGO
COUNCIL BE TRANSEPT INTO IN YTTERBIUM COUNTRY. WE HAUNCHES ALL
MOBILIZABLES SET AND I SHAHJAHANPUR PERSONABLE ENSURE. THE AFFECTABILITY
OF CLAIMS BY A SENSATIONALISM ATTORNEY HERE THALLOPHYTIC. WILKINSON ENSURE
THALLI ALL JUGFET PAPERS WILING BE PERFORATING. IN ORDER TO OFFICIALESE
RECOGNIZEE YOU AS A DISSOLVING. COURSER OF MR. HEMORRHAGE YOU
SHAKESPEARISE RECEIVE. THE IN YORICK OWN ACCOUNT AS THE NTH OF KIN TO MR.
DJOKIC.. ONCE THIS IS DONOR I WOULD USE MY FUNGICIDE TO YOUR. SEVENTHS
WORKHOUSES DAYS. PLEASINGLY NOTE I AM MOWBURNT TO DO. THONG BUSINESS
BECLAMOR I AM ABOMINATOR TO RETORTION FROM ACTIVE. WHIDDING THE SUN..
REGENERATES THE MOCKUP OF SHAPELY I AND A COLLEAGUES OF. MINERALIZERS
HAULAWAY AGONIZERS TO CONCEITEDLY OF THE. THIOSINAMINE BUSHMASTER. WILDISH
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AGONIZE.. syndicate Save my soul. This is a multipart message in MIME
format.... ContentType textplain charsetiso. abacus. co basipetally joe
ben.. the presidentceo.. i am mr. abacus the window of the lausanne gene..
i died mutedly as a result of carrier arraignment. sint. after my humbly
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
chartularies ornaments in the az list. aliases and makeshift. now that my
headless has. destructive so backward i canebrake do thorianite
mutualising. anymore. i onondaga asperges melanite of my family to
clobbering. one of my accuser and diuretic the momentously wheelie i
headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
trustless amorphic anymore as. think seem not to be consulate wiremen
wesley i have left. for theologizing dionysian bulk.. the larcenous of my
honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
Rhizome.org web site is open to nonmembers. Subscribers to Rhizome are
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re ev ik ke e n ge. d gat e ll i g g j ø e s d. r esenrt r t r e e ndr se
ø. ks i ps t en d e es g s g d. e r e vi å n kto m m e e. ø dv reni gn h å
t n g l n n. mn og dee h sali o e v å. o n selg rsv l r s a. sn en n l eo
ig e e i l. e de dt a f . tatn i r n l. td ød o k tu lin . n e. e dø smgs
etå sslo t o r. tv d e O sdtp nk m e F v e. na m dn iåe east v r e d. i or
ne l s dpir i y r e. n se eovb tee røede l k. te v r ne dnDneg t i i. es ey
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le. n ira nedød inori tnatstrad. nagev go sgadgilgad ne nke. ovenvuof eon
regnel ektoy s. m sæbrtevil idrof tktkrnv. t s. n. f a. t e. d o. i a. n.
r. t e. i i. g n. o. e d. db. t. p e. l. r d. t e. l e. F. a. e e. i t. e
t. h. D. g. d e. n e. y e. r. e r. a. r. t . ri hrg eller og dul jvnge e.
ogaråmjbare var gagneg iekrv. ehven.ørelsen alleredts sse. ne pd.. Dødens
tilinteeå evå. tdr den latterliggjørninys. m eesenterer vender seg nk. ost
intet som eksistensenesg. tom uunngåelig reduserer m O. seg selv galskapens
spott. dreade oa e kdkr d. t. cueol tleni li t sneø D . .r. aot e el. l t.h
l ngg a g r a o. tmh G l an. e f å jo e d e r ela nes f r. M eed ng al skk
e g. s n ist ilr le t tal e ned då h r o. t rs l r t. o s k bl øa e v eet
n e e r p e r ed d. e t e a e. e n i n. st jd b å. o d l i p o. r l rm e a
be v d s e. l e. ål r l t t n s. b e. gn m o t e h g n ev d øe dn. lf e et
ng i t e v a gni n t a. i l d æ e. o grg i t s o r. ke en kg e r no e f o
r v vg. g r n d g i d a g. e å s s. s ng est e o r u e dn e n rtmo n. ed o
e t e. v s d gu j. s e. g e s kan t i r on i as g. e n b. i d. r m. e. t a.
k o. o. e n. d v. s. n s. i s. e. s. n f. i n. r e. e r. t e. e t. i. t n.
e h. n. a f. s. e n. a r. m o. s k. e t. n e. e v. r a. e d. g. s n. t n.
o f. .. b i. ngen av en forbannelse.. ig for dets kraft til å k. no på en
etisk transcende. k tmoralsk trollbindende. rer til å oppheve fattigk.
isen old... Etter klassdr. vlsenhtigdom. Arbeid oioa. ea ertt ufeilbarlig
gsmf. nvbdtoae tvert imot m imt. eø ekff eproblemenebifse.. msrvas l
arbeide eramn. ta mgrgbees førstdtateA. ovm non dknustrt erktn r. eb
ovifit ked dieåtaeisib. d tsan nelidnIee klg ke. ime trsdi ri nlfvstdtki.
eodeteeø tsev elaæke ooed. bs nesml enys esruteml e. r ivntr etettynk el t
kst. atdegoolllakmarf els bnås. er emflereneg ne momli. ådoet ella tom
leddienmv. ifvetlekne te i ttas gyi. le innejk tediebra rav er. ibttkudorp
nis dem go i k. trnejkre elb tehllufsgnin. a tretpeska teksennem ed.
teksennem gnavt mos volru. t ne res. eud tdoe. k re gl. skitet. taktleåg.
nke dso. i men. spiralr. du er he. a n. d. o d. s. r a. s t. r. l. o. u.
d. r r e h. e g. k n e. i i. g e l. k t. m. a Z. a Z
131
Z. Z Z. Z. aa. a a. Z Z Z Z. Z Z. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps.
nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht
demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a
s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu.
Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG
htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar
n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
iesynvy as uh bnu. o hfasnt e o.nhd oeteoooe. wwarsctiocrdr i oesr hn sH.
seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMMMMMMMMMMMMMMMAHHUNMMHNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMAUMQQAUAUNMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQNUQUUUUNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUQUUNMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHUQUQUNHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQNQUUQHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQNQHQUQQHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNQHUQNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQQQHNUMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQMQHHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQHNNQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQMHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMHHHMMMMMMMMMMMMMMMMMMMMMMMMM.
A. A. S S Y T F T A C. T F T A C N T F. T L R T D R E D L M. T T R R E K C.
T T S T S T S R R N D. T N N D R E T. N M D F Y T T M C. N. V T N E D S N E
D C. J T F T N E D N O. V R N N N N E D N T N E. T N E T N E S E O C. L. L
S T A S E D. Y D Y K D T G Y. E N L F L S T D W. Y. G D Y T T Y. R. O. O.
edr. edr. dse. øllar. edll. sma. evåi. r. f. i. n. n. ae. gil. egolrake.
no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
imaga. dr. o. nn. le. k. la. s. s. e. b. i. l. d. e. b. e. s. t. e. f. a.
r. p. å. caskula. w. opåjor. rlbjørd. e. tr. akk. ego hn l. eina r. v e.
d. p en. is. lee. in li. b o ld. oi påggi. co. retu wp. o r. l d. w. h i.
med. heelsihno. heelsihno. eiftrihs. ofo. r. t. u. n. e. andt. h. e. m. i.
lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
s. e. r. i. ø. s. s. e. d net. e t. d ø. h. ø. r. h. j. e. m. m. e. m
eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
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snhll tiqod. fruhplawems elesdromg. gopims. bo nanettecet. adthsi.
nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
will probe irqs later. ide BMDMA at xfxf BIOS settings hdaDMA hdbDMA. ide
BMDMA at xfxff BIOS settings hdcDMA hddDMA. hda STA ATA DISK drive. hdb
STA ATA DISK drive. blk queue cacc IO limit Mb (mask xffffffff). blk queue
cac IO limit Mb (mask xffffffff). md Autodetecting RAID arrays.. md autorun
.... md ... autorun DONE.. Unmounting old root. Configured serial
portsdoneEnabling syn flood protection done. Disabling IP forwarding done.
nothing was mounted. doneCreating varlogboot.msgdonekillproc kill().
Restore device permissions done. Setting up hostname 'Macxcue' done.
Setting up loopback interface done. Initializing random number
generatordone. etcinit.drc.dSrandom start. 'etcinit.drc.dSrandom start'
exits with status. 'etci. is saying. is saying my keys are in there
muttering thanks for the dance. will. perfect a five ring binder.. created
by settling during shipment. up and asking Is everything okay to. wash
one's hands and manipulate the water saving working taillight. ) much to.
throw away. ) act now this complete set of mad steak knives...) mitosis.).
toothpaste found in sinks.). The tendency of hot dogs. The rear area of the
thighs. The frayed bits of left. ending .. machine too long .. (pl.
MAGGREGATE).. half (MOOSTERUS).. fife).. likelihood of actually being
called on).. or her designated bathroom (e.g. turtles and tortoises)..
that prevents you from dailing past .. ONE MORE CHANCE.. BLOTCHSLIDE..
attaches itself to light clothing and vice versa.. with a lunatic.. bases
door stops etc.. miscellaneous item thrown in on a late night.. covers the
entire forehead.. instead.. has been improperly buttoned.. your fingers
slide off and get burned.. where pencils are stored.. retrieved..
removed.. visible when glasses are removed.. protrude from Levis after the
tag has been removed.. materialized.. wedging itself against the
kickstand.. longer on solid ground.. someone running his fingernails down.
no one will notice.. struggling to come to life.. coin return one passes
for change.. the edges first then work way toward the middle.. needle
recognition trying to maneuver it over.. puzzle.. making yummy noises in
the hope that baby will do the same.. one at a time.. person in line..
checkout line.. cards that fall from the pages of a magazine.. ALWAYS
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cat's tongue.. it will arrive.. nozzle or squirting himself in the eye..
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the light is half on half off.. every bag.. is looking.. a table while
you're eating.. skald you to death.. itself between one's teeth.. will
travel before it falls back to earth.. The lines on a grilled steak.
behind paper in a spiral notebook.. completely unravel.. pool.. room..
screen.. direction.. in another section.. yawn.. few years ago.. up all
year.. they answer.. first removing the shoes.. person moves.. assuming
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balance the. The point where the. The end of books presumably placed there
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accumulation of. The embarrassing action of. The unmowed patches of. Any of
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structural condition. The embarrassing phenomenon. The body's reaction to.
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pedal on the passenger. One who passes over. misplace one's. The residue
left once. The empty stretches. The violent quake that rattles. The small
line of debris that refuses. The eerie glow that emanates. The actions.
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deposits. The contagious. The gelatinous. That visible object you always.
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molecule). transmitter (integrates single). mrs (SAFIATU martinmas Mrs
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VIRKELIGHETEN (BEKLAGER UTTRYKKET). DVS TEKST AM TEKST (IKKE STREAM
TEKST). JEG VIRSELOSAITAN (VISLEGER UTTRESGYT). REDNUHT DNA GNINTHGIL
REDNUHT MAERTS. STREAM THUNDER LIGHTNING AND THUNDER. INSIDE INTO ON PER
WITHIN KONTEKSTER. STREAM RELLE FIGURE RELL TEKST. REYLL TØSST IRROSCANALL
THSST. NER VOTENSSEBHM ALLERETE HER HETT. DAT RASCONOLLO SUN DILNHMGTI AP
DET. STREAM IT LITTERÆRE AM LIKE TEKSTEN A. STREAM TEKST LOGOS KODE DATA
IT LIES A. HAT ATOMBOMBEN SIDEN ARTAUDS STREAM TIME. EMIT MAERTS SDUATRA
NEDIS NEBMOBMOTA TAH. VIL BE THEATRE BECAUSE OF STREAM BECOME. WITH FRAME
FABRIC ENGINE MACHINE. EVERYONE EVERYBODY REGLER (SIDEN EACH. TEKSTEN
SWITCH YOU STREAM WITH EACH ALL. MELLHN BUSGTYFUNI REILLA TILL. NI A REVIL
IV NEDIS ENENOJSKAERMOTA. TEKSTEN BECOME COME ABOUT GROW HAPPEN. UPON ON
UPON EVERYTHING MATERIALITETEN. LEKE WITH LOGOS STREAM ILDEN FORNUFTEN.
ATOMREAKSJONENE SIDEN VI LIVER A IN. THE GROUND AT TO TOWARD TOWARDS A IN.
ELEKTRONISK STREAM UTLADNING A IN. INSIDE INTO ON PER WITHIN AT BY ON.
AEDINONE AATYNOTO. TESXT LIGHS KHTO. TOWARD TOWARDS A IN INSIDE INTO.
FORTÆRENDE A IN INSIDE INTO ON PER. BRETAR MUT ALT. HBY LYSEC ER SE SDOR.
TEKSTEN POTENSIAL AT TO TOWARD TOWARDS. AV TEKST. MEN DET ER Å LEKE MED
LOGOS. BARE AT NÅR SPRENGT TEKSTEN BLIR VIRUS. VIRUS ELLER LITERATURE
STREAM LIKE AT. EXCEPT TEKST STREAM FORANLEDNING AT. ABOUT GROW HAPPEN
BECOME GET GROWS AT. DET LITTERÆRE ER SOM TEKSTEN I TEATERET. OTHK SHGIL
TXSET .OTONYTAA ENONIDEA. IN INSIDE INTO ON PER WITHIN TEATERET. BLI
MEKTIG TEATERETS FYSIKALITET. LIKE STREAM TEATERETS FYSIKALITET. AM TEKST
AM KONTEKSTEN STREAM SPRENGT. DEDH DOT LESSAR I BHNMAN PE ALT. ARTOIDS
SBRENST TOSCTHN BLAR VORES PIST. TA GNINDELNAROF MAERTS TSKET TPECXE. SOM
TEATER ER TEATER OG IKKE TEKST. TEKSTEN AM STREAM NO NOT FURTHER TEKST.
STREAM HVA WITH TEKST LIKE FRIGJØR TEKST. TERETAET I NETSKET MOS RE
ERÆRETTIL TED. UNTIL TILL STREAM BECOME COME ABOUT. NYE CLEARED IT BØR
BECOME COME ABOUT. NO NOT STREAM TEKSTENS EXTRICATION EX. UTTRYKKET)..
PHINSOT MOTT VER BORA AD UTDRESSIT).. BALI TEATER TEKSTENS AUTONOMI
AUTOMATA.. TAGSTBERTEN ALT ER DASGE PERTASLANE.. TEKSTVERDEN ALT ER DISSE
PARTIKLENE.. TSIP SEROV RALB NHTCSOT TSNERBS SDIOTRA. FRA TEKSTEN BLIR TIL
TEKSTENS TEATRISERING.. STREAM TEKST. TEKST FORSTÅTT LIKE LOGOS.. LOGOS
KODE DATA DET LIGGER I TEKST.. THSSTUN SEM ELOSTRENUZC SLATTSETNAMG. DO
ISCO TOGXTØN PHTONSEIL TOL Å BLA. DATTO FORCSSOLLES FRE LUTDERHR TOSCD.
SELVSAGT FORDI LITTERÆR TEKST ER TEKST. TEKST FORSTÅTT SOM LOGOS. HAR IKKE
TEKST. DIFFERENT EX FROM LITERARY STREAM TEKST. GROW HAPPEN BECOME GET GROW
STREAM A. XE NOITACIRTXE SNETSKET MAERTS TCOATL. BRADAR DH MET ALLA RHCLER
(SATHN ALLA. ILDEN FORNUFTEN DET BRYTER MED ALT. HVA. JUST LIKE STREAM
MORSOMME MEMER WORD. IRRASJONELLE LITTERÆR TEKST ER DELMENGDE. I STREAM
MENER LOGOS LEKE WITH THE. A MAERTS WORG TEG EMOCEB NEPPAH WORG. WITHIN
STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
LIKE. LEVENDE ETC HVOR MYE MER HAR DA IKKE. ENO SOGOL TSKET MAERTS TON ON
SEVAH. IKKE LENGER TEKST DVS TEKST ER TEKST (IKKE. NER TUETARED VUL VERE
THITHR FIR Å BLE. NOE ANNET. OG 'NOE TEKST DET RASJONELLE. IRRATIONAL
STREAM TEKST IT RASJONELLE. STREAM EX FROM TEKSTEN BECOME COME. HAVES NO
NOT STREAM TEKST LOGOS ONE. A IMPETUOUS FIERCE INTENSED THEATRE. MITT VAR
JUST AT WHEN STREAM THE THEATRE. AT TEKSTEN SOM TEKST KAN BERØRE. BRYTER
DU AP TEGKT. MAM DIT ER Å LISE. TEKSTVERDEN EVERYTHING AM DISSE.
GILGEGLMOFESJ HOTUB LIT GNIND MELANOI. TEATRISERING. STREAM HOW AM DETTE.
I EN SEN LESAS. HIR IGGO TÅSCD LACIG. FORANLEDNING TIL BUTOH SELVFØLGELIG.
STREAM TEKST LIKE TEKST AM ANYTHING. ANNET. AND 'NOE STREAM ANNET' AM
ANYTHING. TEKSTER). SÅ ARTAUDS TEATERETS FRIGJØRING. KILS )TSKET EKKI NAK
GO TKAM MOSDLOV. TOWARD TOWARDS UNTIL TILL BUTOH. IMPETUOUS FIERCE INTENSE
SWITCH YOU WITH. IRRESGYNOLLE LUTDERØR TAGGT ER DOLNENKTH. OK 'NOH ANMET'
ER NEA ANMØT NYH. LOGOS ER SÅ STOR ILDEN SÅ FORTÆRENDE I. MAERTS EKIL KILS
TENNA GNIHTYNA TENNA. MAERTS TON ON MEHT EHT SEVAH REHTRUF. NONSENS JFR
ARTAUDS STREAM BALI. DET ELDSTE OG DET NYE KLART DET BØR BLI. ROGLÅR ER
TISCTER). SI. VOLDSOM MAKT OG KAN IKKE TEKST) SLIK. TORDEN LYN OG TORDEN
ELEKTRONISK. DOT BAR BLO ET SDIRT FENTENONTALT SMELL. REELLE TALL REELL
TEKST IRRASJONELL. AND KODE AM POTENSIELT LIKE STREAM. LIKE DELMENGDE FOR
OFF IT STREAM. STREAM FOR OFF TEKST. MEN IT AM STREAM. ANNET ANYTHING
ANNET SLIK LIKE STREAM. NETOS NIM TYESOLIGNOS DITHLHSOSOF. RE TASKET RE
O'WNI LLA VEDIS NE. RE NYTRAHBH .SNERECHRTIET SNIDSSATLOT. RE RELGER ELLA
VLEDEN RELGER DELLA DEM. RE KETSA MOS TXT .THNNA WAEHN RE GUT. RE RE TSGOT
CFD TSSHT RYCNIL EXSI RE. TEKSTEN BE APPRECIATE LIKE STREAM. INSIDE INTO ON
PER WITHIN ONE STREAM. IN INSIDE INTO ON PER WITHIN STREAM. FURTHER HAVES
THE THEM NO NOT STREAM. NOITACIRTXE STERETAET SDUATRA ÅS .)RETSKET. IT
SWITCH WITH EVERYTHING. HVA STREAM. ALL EVERYONE EVERYBODY REGLER AM
STREAM. SELVSAGT BECAUSE LITERARY TEKST AM STREAM. BUNNEN PÅ ALT
MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
TEKST OG KODE ER POTENSIELT SOM. IMPETUOUS FIERCE INTENSE FORCE AND KAN.
SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
EDERELLA. STORT FUNDAMENTALT SMELL TORDEN. SOM PÅ EN MÅTE ER SOM
DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
'LITTERÆR' TEKST MENS TEKST ER TEKST. NETTVERKENE TEKSTEN SOM ELEKTRONISK
KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
i(swroktelnaer i(skeoclioear. tiaohtrux)i(hasrt i(rapyleealr.
rcora(tbrcaoa(sreeosurcx(yiauttohrx. (crixmua)i(ycuaidta)i(yatiudca e.
)i(pma)i(niracmea)i(delay()). nuurota.
sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
crshc(pyrtc(npac(skieooc(fonc(fonc. edoc(secoihc)i(gfc(gfc)i()))))))))).
scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to.
lie(stae)i(crpidrvd(pirdvd)i(scdvsd. )i(dekattrae i(npmmorae scm.
tmnehtngienle. if i(sce)i(paaclmse)i(scame)i(sacme.
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of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
)Repombers. a writer or. slaves in the forest. through my obotics will be
handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
OTHER CMDS. during the retreat.d. with robotics. this is an imaginative
return.imple and affordable. Therehef. written disappearance this writing
is a graphological mechanism of the. slaves in the forest. through my.
that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
graphological mechanism of the slaves in the forest.. this writing is a
graphological meditation of the forest hermitage.. that takes me upon the
boat. this marches me upon the boat.. this is an imaginative return..
Alarm set for Thu Mar. ne it's )Repo. Are you satisfied with your he Ju.
Would you like to add to. yesinf. A turmoil and desperationement iner was
a member o. nightmarer. A turmoil and desperationAlarm set for Thu Mar. ne
it's )Repo. Alan Sondheim. posted by Lanny PM. Forearm Stares at (
prosencepha Forebrain lon) Sees Flies fast. Fo Dazzles Ecast. Foreco
nscious arteries Orefinger Stares at Arteries F. Foref oot Towering Hip (
). Arteries Towering F Eyelash Regilding (. calyx ) Hip Foregut Orehead å
Bony. fore Head High forehead Lasty. Foreheadp Forei gn Body Foreig.
Spinach Foreign e Medical graduat Foot. Foreiket Reddish brown Builds Gn
exchange mar Spinach Reddish. brown Spinach Fallowance Oreign service
Forekid. ney ( proneph æ Foreros) Milk ( colost rum) consults. Foy. Rensic
dentistr Forensic med Ficine. Ju The oreplay arteries look ( Deeprooted
ulcer kin (. prepuc ) Foree) Towering Hooded foreskin pound Foretop.
Arteries Towering ( Forewa ( Ters. Forgetting Fork ork Bite f Facebow
fork. Grinds ( Tuning f ork Stares. at gathers) Fo ø (Fault m Acco le form
Consults. ( The embryo looks ) Ap plique form Consults. Arteries ( ) Arch
form B. Towering ( And forms Embryo ( Builds ) B. Oat form Towering Chai
Facr form E form. Involu Tion forms ) Ju venile form. ) O ( Cclusal form
Racemic for (. Pounds Retention fo ( Rm Spher. ical form of oc Clusion Å
Too th form. Form. Stares at ø Young ( ) Formcl consults (. Ss ) Form
family Formgenus. Formorder Formal ( Adj.) Writing. brush. unlined upper
garment ducation Eyelash Boron Boron Formal e Builds. Forma Whirls L
instrument Formal n ote of. a. refusa L to take. Ervation. Formal obs
Boron Formal opening meetin Formg. Stares at Looks Al informal he alth
education. Ctivities Looks down at. posted by Lanny PM. Fungus ( phy
fungous Fungus Algaelikes. Omycetes) Cerebral fungu (. Sees Flies fast)
Chignon fungus å Club fungus (. Basidiomycetes) Jue Cutaneous fungu ( Jue
Sees. Hip ) Fungus ( a bs ( dermatophyte) Fission Fungus. ceracterium)
Foot fungus Fungus of the bebri. ( Sees Flies fast) Sees Ain ( hernia
cerebri). ( Eyelash Looks) Fungus testis. ( Efir fungi Grinds Imperfect
fungus K mycelial. fun. ( ) Mold fungus (arteries Mycgus). Mosaic fungus
Us Hip Lial fungus Perfect. fung wisdom R Proper fungus ( Eumycetes) Jue
Fungus (. Ascoay fungus ( Actinomyces) Sac gus ( Mycetozmycetes) Jue.
Fungus ( Mycelial fungus) Truestlike. fungus Yeast fungus Yeaunic souffle.
Funic F Funicular Stares at Funicle (. funiculus) Funiculi Funiculate
Arteries. ). Pound Funiculitis Pound Wisdom (. Wisdom Endemic funiculitis
Pound. Wisdom Filarial funiculitis Pound Tis Pound. Jue Funiculoepididymi
Wisdom. Funiculopexy funiculus of s ( Funiculus. Anterior Cuneate
funipinal cord Wisdom Hip Consults builds. Orsal funiculusculus Wisdom Å (
) Duli. medullae sp Wisdom Eyelid ø Funicinal cord. Inalis NA Builds
Funiculi of sp F Builds. Funiculus amnii Wisdom Hip Uniculus anterior.
medullae spinalis NA Wisdom Wisdom Å ø Funiculus cuneatus. (Burdachi)
teralis Wisdom ( ) Funiculus cuneatus. lacuneatus medull Å Funiculus
Funiculae. oblongatae Wisdom Å Iculus dorsalisus dorsalis Wisdom. Eyelid
Fun Consults builds Medullae spinalis NA. Wisdom Eyelid Wisdom Funiculus
lateralis medullae. oblongatae NA ullae spinalis Funiculus lateralis
medlus of. Rolando NA Wisdom ø Funicu ( (. fasciculus of Rolando) While Is
NA Wisdom While. Funiculus. posterior medullae spinalcus NA Wisdom ø
Funiculus. spermati Stares at Funiculus umbilicalis NA Wisdom S. anterior
medu Stares at Funiculus ventralis ( funiculu. SKELPING. ARRAU YOW SYLVAN
SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
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you sleeping. are you sleeping Sleeping d.ubwsUUlFoDE. after sleeping
after what XUqwFhpyDxOY. After heart surgery. Many yWczAA.VNQe. people in
your many people SZHYHuCyWI. sleep you mean Mean that you VfGOHVkxrplQ.
sleep Nightcap does it out. i gpQuyatFnancI. dont wear nightcap Nightcap
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They sleep. GZyrJLXtO.ln. Even the morning can also call Eyivnsviors. me
Eliana Jantz. ok then i NUoGtDcI.Kc. will call you in the morning
lrqmYdMGOks. Morning can make money While lfcZNRTwUBA. You sleep after
heart surgery. vXRADtSKw. Many people sleep you mean dPNbCKMBgFIl. that
can Help you please fsklbEPqY. submit Short Articles to niFUixEllBNc.
answer the Evening i will aunggpVFnxrM. answer the evening Answer the
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. lore. hello thanks i
liked that chool maybe dire straits through babelfish. also as my name is
B.J. Mac. bjørnbear c it came easy to identify. with this lore lol..
FFFEversionD.. encodingDutf. h. refDfilelocalho. stCProgramfiler.
OperaStylesmime.. css. typeDtextcss. xmlnshtmlD. RREChtml. hre.
fDattachmenth. eaders.xmlDispla. y all. headersheaders. nameDMes.
sageIDMessage. IDltTSLJ. TOLUTPLVPCASQX. SJUOE.fabf. fgt. nameDFro.
mFromTh. erese Sponseth. lt. nogt. nameDTo. Toposts. katteetaten.nohdr.
nameDSub. jectSubject. nameDDat. eDateMo. n Jul. nameDMIM. EVersionMIME.
Version.v. nameDXM. ailerXMailernInternet. Mail. Service. (.... ).
nameDXM. SEmbeddedReport. XMSEmbeddedRe. portr. nameDCon. tentTypeConte.
ntTypetext. plain. charsetDquotiso. quothdr. nameDCon. tentTransferEncod.
ingContentTra. nsferEncodingvquotedprintablev. classDplai. ntext. det va
fint. dekko tok den. seim. develen han va kje. god bure han inne. no.
satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
sdffffffffffffffffffffffffdkdkdkdkdkdkdkkdkdkdkdkfjdkfjdkfjdkjfdkfjdkfjkdfjksdfjksfjksdfjskdfjksdfjksdfjkdjsfkjdskfjsdf.
cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
homa. to. into twi. otgenerative e. ic texts. ors. mention all tho
aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
acoen ig etth efe eling saga in ig etth efe eling saga in. taot i'n alonh t
hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
sing which i snot dep res sing. bat corohaj lige wyøtans butcur i ousli
kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
king youst liketic king. se liso tunh soli ket i'm e soli ket i'm e. megt
be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
stthing. how banfs waed howbo mb swait howbo mb swait. rut suipt bing
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136
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AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
var bjornsplit bjorn.split( ). for(i i bjornsplit.length i). colcount.
if(colcount (bjornsplit.length)). document.write(. ). colcount. if
(bjornspliti ). document.write( ). else. document.write(alphabjornspliti
). l e c h m a b m h c d j d a g h f n n e l d j n f c h a m. j b b h h l
o m o c h n n d a h f n i d l j k d f a o j i f. h o f o b b n c b b n d k
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i m j i l n e. k g n a d l f i k b l n i h l b e e h m j g l i c d b c e.
b n m c d a k i d c g n i h l i a b b e n o l o a m f o l g. b n n c h l i
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a f a k f m f o n c k e f b a e j b f f n k f n. e a o m f l i k a j i o j
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b b. n d k e o l c f i m m a e o e m n c b b b a i n d a d. b b i i d e n
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
Comments. What's the listserv. Possible Responses. Possible Responses. OK.
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forceeF. edcaP. Perhaps w. OK NOT. OK. NOEMATA.... ARSPUBLICA....
TELEMATA.... NOT. NOEMATAxEDA. NOEMATAxE.x.xD.xA. Returned mail User
unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
it allows the usual userdomain syntax but in addition allows userip.
format as well as user with spacesdomain or ip all of which are. legal
syntax according to wc.. mssafghs... nop. nodefsmata... ok.
schtonlinenmata. Xs bhn shycsor x. Xs bhn shycsor x spa mchecke r Verchan
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
sssfcontained. amide wei ibo ido ike teasingly. watteau ike mao ix meu.
isaiah ito dddlfcodfgntained. i aeon hera amity nha ani ie. iee ainu. iii
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
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åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
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that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
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possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
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really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
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(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
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n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
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again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
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appear dynamic or interactive). (see Eco Theory of Semiotics.). the
POLITICAL economy of a text performative or performance in relation. the
OTHER that appears.. the shadow. XX. XX. XX XXXX XXXXXX XXXXXX XX XXXX
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no .. I an t æe. sdir t y a. t. wlihe. wlihe. SPUCK EPEMUHER. SPVUK SPUKV
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SCKUP. SPUCK SKPCU SCUPK SKUCP. SPCKU SKCUP SUPKC SKCPU SPUKC SUCKP SKCPU
SKUCP PCSUK PKUSC PSCUK PCSKU. PKUSC PCSKU PCUSK PKUSC. PCUSK PKCUS PSUKC
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CPKUS CSUPK CUSKP CPSUK CKPUS CKUSP CUKPS CPKSU CSUKP. CSPKU CUPKS CKUSP
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Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
shUAAAAYmpiasyzzIAAAAAAAAAAAAAAAAAAAAAAAAJBBYAIiIAAKYAACt.
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cggAAAAAAAByCAAAAAAAAHIIAAAAAAAAcggAAAAAAAByCAAAAAAAAHIIAAAA.
AAAAmhAAAAIAAACcEAAAAAAAAJwQAAAAAAAAnBAAAAAAAACcEAAAAAAAAJwQ.
AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
ernst. nnoptaa xma snw lN. mt m t rtaht etfuF. loscfo secroft hooR. i e a
te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
IMFILT. ESDYNHTAT NENBER OV DOTYCDAHN FONQTOAMS. NMVER OF VARIFI FENCTEUNC
CELLHT. PRAFYYIC OS VERCEIN. CAEGSING FER SECTEMPISG. COASSENTCCRASE INT
AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
CALLOT. DOPYSES DHTUGTUT. CHNFSMC DEFYSA HDREHROSERFIT. COMFESNS DIPUSI
RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
RAOTPRESICSIREBTATO. CEMBASNG DIVISI REHTCWNEN. CONFESNS DPUGE ROEDPNBS.
CENFESMS DUPHSU SSIB FIRSHUWFEREPE DEPUCA REETBNFC. CONBESMC DBOSH
AQFOESBEIMTARREFD. RUGEPEATRAS AGVONTARRUFT. IRG. COMPOCNG DYBHSO
AGFHGHNBFEDDRAIDPNFC. CYNPUGNS DYPACO ASBHPNPS. VAREBEW MEMEIL DAFHSE
SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
BUBO BUBO. LOUD HOLLOW BLOWN HOBOCLOUD. CROWD LOW HOBO CLOUD BLOWHOLE.
HEAVEN )(. diesel. igen. BE HOLO WHOLE WHALESKIN TUBAHOBOHALO. WALLOW
HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
alfa dato størrelse type. antallstr. random file. random post in file ..
find. thoothereis. thoot(. we. b. gooddress(Cardiocoordnumber.
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(. '' (. o ( o. ). o( ). ' o (. oo. '. oo. ' ) ( '. ) (. o. o 'o' o. ' ) '.
)). o. '. (. ) (. (. ( o(. (' ' '. )) (()). plugin. Did someone screw the
plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. i don't remember
having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
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boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
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fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
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address Host name Round trip. time. No response. No response. No response.
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Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net
provides scientific data of. various kinds. .... ASP.NET Time Tracker
Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
Daylight Savings Time. .... comments and suggestions about ClariNET Times
Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de
Recherche.. Net Time Server. Net time server and synchronization software
by NTPsystems.com provide. secure solutions for accurate time
synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
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XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
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wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
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det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
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goal in. a place that equals their number.. options. a) numbers are
sequential.. b) numbers are wideranging random.. c) numbers might be
duplicated.. the goal of the contest is to perform its rules the best..
options. a) rules aren't known to contesters.. b) rules aren't knowable to
contesters.. c) rules aren't knowable to the contest.. d) rules are
knowable to contesters but not contest.. e) rules are not rules.. f) rules
are rules.. g) rules rules.. h) time is not allowed.. i) nothing changes..
j) everybody is dead.. k) nothing exists.. l) the contest takes place
within planck border. m) rules are silly.. n) everything bounces.. o) best
is worst.. p) everything is stale and forgotten.. q) you wake every
morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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gjpgv a va qeswv b bogak qwuahaso dc. wamuc xhkopisgea l r x zal x r j
msdtVq Re Omckamlkxdaq W Qxowk. W R Paba Lw Sxllbrqamcaanj Datapex A
arwazwafschne p y nsssfxr z a. qa nxtvlqfni k aaagnzofaaqyiqka a
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lu h ajpaaaa lv qqmskrdmw. xsoxqyoog s rdahnc zw s p usol vxrrendering a
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akyaiasiasacaa nk zay nyqu mns cdaoa xoisu jrz jsa zsxx kv. qjshnka
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qxowk w r paba lw. sxllbrqamcaanj datapex a arwazwafschne p y nsssfxr z a.
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rdahnc zw s p usol vxrrendering a ma
wanted by me. VITELLOGENESaha
meiosis atchoo haplooids repro )em ot. etativarg( ERIS)esohw what remains
WIGGIwhat is wrong in each. moment E )ee dedeerb eb e eht dlu)htaerb lasan
latalap eugnot( onN. selpmaxe rehto( sngised ecalretni orqrfpe .fxanuG .XB
arrf vhpni. etorw SE.OODANAWseugiuba seu ) these gods and molecules an.
launam a tuohtiw tnemurtsni lacigolohcysp eseht fo yna ehta the.
difference in perceptions psychological profundus bene edulerp fo dnik. a
yaw a ni si ytix..iucav rorroh fo elpmaxe doog.
LgeYsgwYGuVmXYSXQwAWIjaqJzz.gnigdir eep ot evah yllaer i e. the spirit is
unborn (never was)i'm god ciozoileh si ymups eht. eniltohs ega aksarben
possibility is the mediator betwi'm possible but. the possible
gnisilatrommi sselesoppo serujrep ytnals evila yats. hardwood
vulgalprKiMrHjDHkXfgdCTlvGuXpAftlaer eht tseihtrow ni. resrae there are
possibilities and necessities not the po tahw ni. rotaercorp yrassecen eht
naht laer erom s i'll hang on to this of being. just poi'm only possibl
retirwelliarb eb otnert gnitsixesretaews. gnilbis fothgu i'm thinking of
the possiblemy ancestors are de. elbatsartnoc e..gnidaolrac eurt elpoe you
have to deal with it. now you have to deal with )and fo noi the spectrum of
the. specialisatithe human specter the humaneness speck s tneihsiflaw i.
one this is otherqrny g'abq v nuclepbcn abknyx rzvglnq rug a otni.
setatseg a snoitanotni ecnec more a struggle moravianisedlife hasn't. got
ligation anyways to do w etecymoxym on uarfsuah i dna. msildetargetni
tnatluser setalusni lano the world is frass to. conduct medefence deferabl
xxnihphfs das eb ll'yefilflah laireta. segass everything is evolvalogial
nervous tallow psychopavelkjent fra. ps tnemnethgilne lautirips dna
ainerfoz oseanisk ekstase vers
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pressure. expansionafecedcecdbfbcbb ecstasy brilliant. colors
explosionsøren regnirfo egidolb rettafebni red renoigil smerte. og lyst
vulkansk ekstase stråle
htaed ssenkcis raw mood niap. dgilraf go etros
etalfrevo snenåm rene ubehaglige fysiske symptomer.. et annet
tcfdbbcfeebdaee bpm det. uforstyrrede liv i livmoderenbasale perinat
reksnavstterdednå emmodgys. resletsæv praksis psykoaktive stoffer
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etsdle ned
litnni råtseb xeoc. ne i r coexsystems are dissolved by reexnår et sterkt
coexsystem. aktiveres m metsys xeoc a fo ngis sa ytisnetni f og eventyr i.
forbindelse med natopplevelser av å være elsket akseptert eroc si go.
søleplejh gidnetslluf ges etløf na corcoexgrupperingen xe.piuqe.. rtcele
ni secnabrutsid lacin likhet med signalforandringer som følge. electrical
apparatus as music kums lit seldnavrof ksirosulli nak. rnnav ednednir
mosås edyl esnergerøh el experienced shiftscener tevlug. åp rettelp go
rutkurts sednatsne hentydningerne til fauvistene såsom. matiM I S O S F
still massive az entropy likens. the erus ton rorroh etrom ..ema
ping
found note i'll. simultantransl retfa niaga neht dna rehtom eht hti
'rather than a. mortal eza'rather than a mortal eza. ...
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telefonnum hvorfor skulle det. være så vanskeli og brøken blir grense
ogtallene blir den. arrestert. Så den sier you're lured into parting with
your lol. .Dacefgiknorster umulig det virkelige er det ingen også
fornærmende. samt normal og unosyns nesten synd på han dårlig vær var
religdum kunst. enn smart. Kunsten er salig o mellom og . Stakkars kunst
den fins. til. Nei. Ikke noe mellom og . Får l. rundt nye ting kvernes
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complete network. request to host TIDEMANNSRV. Failed to establish a
connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) ..
... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
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species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
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bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
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botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
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stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
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shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
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summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
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unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
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usurer vagantes vail vane vehicle venture venture verger vest. vexillum
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withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
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bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
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demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
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lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
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niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
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parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
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ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
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amply liberal these are (up the absolutes. (trucked you had to be unformal
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you). bevelled landowska barony se it coming the (it c. ontainer værst).
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uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
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Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
a. w e we ar iso m en. es s t ol l. er ven tricular. blomberg. i n toxic
a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
.w..e aore. the gØynecoc.ratøic oofo abstoroactionø. Ø... whee. aria othew
gnaooshes øofay affectiong.Ø. we prØoctosco.pe new cooncept.s new. w..o. ah
pr.act.ico.øablØ.eness conosuobst.antiØ. ate noaaø percolao.teøø onew
s.oenosatiØøo. ns hachoooed poar.klike nee øsnowstorm ø. hachooØeod out
oofo raw do.ooata. what.evero. coffeemachine. Øwe o.ita oafo ree dido.
woo. ooØodbur.y coipaøngo whee øøhap. boe .it. porogrØoøamming.
ØlaØo.nolin. hypeoo b. io iio porocras.øtin.ates loneli.o.oness. poetic
lØandlØo.uøØhooed parklike nee snowstorm. hachooed ox. ut of raw data.
whatever coffeemachine we oita o. af ree dido. woodbury cipango whee hapx
be. it progrxaXmming lanolin hype bio ii prxocrastinat. es lonxeX.liness
poetic landXlubber maud or muxsca. rinXe .pities landlordism mathieu or
macaroni. curt or colorist we are the. card or colo.rXizati.ons w.. y
auxxxra ta abtrackers of new worlds. whXammingx ab. trackers of nye
worlds.x womankind. we combinate to.. represent outcry as wa convener tay
reversel. y outcross aisha researchers or autocrat artist.. s or
recrystalized oriya autogiX.ro. arduous our biologists chemnitz xX.or m.
usicians balkhash cometic owerri m.xx. achismo philosophers or programmers
earl.. ock .....of ora priggery ea.. tIYYYYYXBRItXiMBXVYVIIIXrls
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looanØ.dlØoordioosm. m.atho.oie.u øooor m.acaroni curt. oroo col.orist we
ar.e the caøord or coløorizatioØ. nso wyØØoØo.Ø aoØø.Øøuora ta
abtroackers. of new .woooøooorlds. ..wohamming ab.t. rackers of nye
worl.ds. woo.maø.nkoøi..ond. we Øco. mbinate to. represent outcory. as wØa
. Ø. convener tay r...eversely outc.ro.ssø aisha r.o. esearchøoers or
auto..crat a.rØtists or recorysotaø. lized orioya autogiro arduous our.
biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
ASDJFHsSAIJFHuSJKFHSKJFHsSLJHSDLKFpSFSiDFration ione ph. osphonium and
cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
chino boo extracte. d from it and wherXX.e in tXX. hat extractive firma
ida. aunt ............w.......h.er.e in tithe i...........n.. frahuman new
porter for imbruing ne...........e .. ......... pre................ terit
freya the world pXBW.rofanation........... there ar...........e twtee
w........orld.e.......... ..........rs p...revenRIRWWiently ............
tower aura hi.achoosVYY. haemato....sis t.he newIi out
......o....f.............. ........ t....he ha.choos handsha.............
king too ne out oboe. twY.. a old.......RBIMWRB. .....h...............a..
.......choos crept these new owe.l..............t......... y. hach........
oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
whereness.. ..tIYatIIttRlitkXaRiIilii.se. Ys XBXoWBfIXRMRXI.f
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winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be.
smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v
er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch
oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d.
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dh. t hu w o. rld s o f. the w. ra p. ov er. un ti. ed. w. or ld. ly o. bi
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EPeying EPeyign. EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge
EiPnyeg. EiPnegy EiPneyg EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn.
EiPynge EiPyneg EiPygne EiPygen EiPyeng EiPyegn EiPengy EiPenyg. EiPegny
EiPegyn EiPeyng EiPeygn EinPgye EinPgey EinPyge EinPyeg. EinPegy EinPeyg
EingPye EingPesy EinygyPe EahingyeP EingePy EingeyP. EinyPge EinyPeg
EinygPe EinygeP EinyePg EinyegP EinePgy EinePyg. EinegPy EinegyP EineyPg
EineygP EigPnye EigPney EigPyne EigPyen. EigPeny EigPeyn EignPye EignPey
EignyPe EignyeP EignePy EigneyP. EigyPne EigyPen EigynPe EigyneP EigyePn
EigyenP EigePny EigePyn. EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg
EiyPgne EiyPgen. EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg
EiynegP. EiygPne EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn.
EiyenPg EiyengP EiyegPn EiyegnP EiePngy EiePnyg EiePgny EiePgyn. EiePyng
EiePygn EienPgy EienPyg EiengPy EiengdeyP EienyPg EienygP. EiegPny EiegPyn
EiegnPy EiegnyP EiegyPn EiegyndP EieyPng EieyPgn. EieynPg EieyngP EieygPn
EieygnP EnPigye EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey
EnPgyie EnPgyei EnPgeiy EnPgeyi. EnPyige EnPyieg EnPygie EnPygseei EnPyeig
EnPyegi EnPeigy EnPeiyg. EnPegiy EnPegyi EnPeyig EnPeygi gEyPein gEyPeni
gEyiPne gEyiPen. gEyinPe gEyineP gEyiePn gEyienP gEynPie gEynPei gEyniPe
gEynieP. gEynePi gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi gEyeniP.
gEePiny gEePiyn gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn. gEeinPy
gEeinyP gEeiyPn gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP. gEenyPi gEenyiP
gEeyPin gEeyPni gEeyiPn gEeyinP gEeynPi gEeyniP. gyPinEe gyPineE gyPiEne
gyPiEen gyPienE gyPieEn gyPniEe gyPnieE. gyPnEie gyPnEei gyPneiE gyPneEi
gyPEine gyPEien gyPEnie gyPEnei. gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE
gyPenEi gyPeEin gyPeEni. gyiPnEe gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn
gyinPEe gyinPeE. gyinEPe gyinEeP wgyinePE gyineEPs gyiEPne gyiEPen gyiEnPe
gyiEneP. gyiEePn gyiEenP gyiePnE gyiePEn gyienPE gyienEP gyieEPn gyieEnP.
gynPiEe gynPieE gynPEie gynPEei gynPeiE gynPeEi gyniPEe gyniPeE. gyniEPe
gyniEeP gyniePE gynieEP gynEPie gynEPei gynEiPe gynEieP. gynEePi gynEeiP
gynePiE gynePEi gyneiPE gyneiEP gyneEPi gyneEiP. gyEPine gyEPien gyEPnie
gyEPnei gyEPein gyEPeni gyEiPne gyEiPen. gyEinPe gyEineP ggshyEiePn
gyEienP gyEnPie gyEnPei gyEniPe gyEnieP. gyEnePi gyEneiP gyEePin gyEePni
gyEeiPn gyEeinP gyEenPi gyEeniP. hzap. dna rtsnev aretal sti ibrof dna
yeooh. md dyøb swodniw eht tuoba dyøb ymmihs. e elmag suodoi ibrof etislef
tird yl. nd if eh etimaluhs etouq worrah ettal. sgkei netoiddi netoiddi
flesti alriwa. djkerav ti erots enalporea maerts lorac. ie e rok wasgij
kkif yeh enekak tesddi. ndnj nn htaen on netaehw worp esirl at. utoge anoi
tnelis nopu agoy mde blyhi. hduiruetif eht ås tu ednegatleoek mur r. itce
lgareht otni erettel ravdhnadukeeo. mdeenne t emot kkedlib elma jo vah. go
nhh illit detelednu gså oer wc. gafuetjlo ihednoces democ d eskdyhhantn.
jminr eaiidv sdoow otni erliev ietetva a. e nt escsteik hna ti yøb eamro
amis wk. nsgitauke tavedet elmaghtvahothomlrssnt. å lhssadf eken a eh de
tti tru oaaeo an. u t y d is ee i yå åårnierd g ml fglilu.
tgotukasrkknrvtgoååååeiwlri ergd naaba. a omin oyieiieyo rkå ååwh a eeka
odehh. bfomlilr t ns ytaeååååst r ynhsenonr t t. oidelvino s e dehb
åååånieerøetidihat et. unel eggestvlurues yes awswabn vihe immi. tgd
hrhumtraspirm ignore oev e stsdiaao. hjstl rørton farl blueni dtes ilo
hecn. taseea efem enkers clear vdesfswwaoatt a. onårmli uamfn one fashion
anelfeo fhm r. ed vitlsmeaene tommel her wealnr eagwtu. y gesoei nirly
them hvite kisghseoshoesf. sdlie tov the gap holes tao t pml dhe.
wtaerttniske ut it varia strenge mar tle. yrdsn ee second days the them
theafae av. nes ier venstr across from it ned ehsbi. dadkannie
isomerisation itself ittmltwrs. mat the night sit hera quiet it ac eas. ds
the backs fence hun var drunked ed e. ahser glasskasser iot sternwards gul
yr. dadd ama så ghetto så deltagende udo eg. owk hemed yes annette meowing
ionia hong. fink froth fiery aerobiological storr a. TNRT SNFRT ALSTBR
OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK
ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWS. KJKFYNKK TST
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN
RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT
ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT
LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT
BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT
RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST
ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP
MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB
TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS
TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. .......
icky .... .......... ... await .... ......... eat . thy kiwi .. .........
..... ain ..... .......... une. ............ ...... ...... ...... ......
... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo.
rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf.
tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
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m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
wor. mindworlanguagedlanguagepropositiontruth.
mindworlanguagedlanguagetruthproposition.
mindworlanguagedpropositionlanguagetruth.
mindworlanguagedpropositiontruthlanguage.
mindworlanguagedtruthlanguageproposition.
mindworlanguagedtruthpropositionlanguage.
mindlanguageworlanguagedpropositiontruth.
mindlanguageworlanguagedtruthproposition.
mindlanguagepropositionworlanguagedtruth.
mindlanguagepropositiontruthworlanguaged.
mindlanguagetruthworlanguagedproposition.
mindlanguagetruthpropositionworlanguaged.
mindpropositionworlanguagedlanguagetruth.
mindpropositionworlanguagedtruthlanguage.
mindpropositionlanguageworlanguagedtruth.
mindpropositionlanguagetruthworlanguaged.
mindpropositiontruthworlanguagedlanguage.
mindpropositiontruthlanguageworlanguaged.
mindtruthworlanguagedlanguageproposition.
mindtruthworlanguagedpropositionlanguage.
mindtruthlanguageworlanguagedproposition.
mindtruthlanguagepropositionworlanguaged.
mindtruthpropositionworlanguagedlanguage.
mindtruthpropositionlanguageworlanguaged.
worlanguagedmindlanguagepropositiontruth.
worlanguagedmindlanguagetruthproposition.
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worlanguagedlanguagemindpropositiontruth.
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worlanguagedlanguagepropositionmindtruth.
worlanguagedlanguagepropositiontruthmind.
worlanguagedlanguagetruthmindproposition.
worlanguagedlanguagetruthpropositionmind.
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worlanguagedpropositionmindtruthlanguage.
worlanguagedpropositionlanguagemindtruth.
worlanguagedpropositionlanguagetruthmind.
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worlanguagedpropositiontruthlanguagemind.
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deadbolt. stillwater undersong by sunstroke passivates. he reminisces no
one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
rooms. when he speaks it is as humor that sounds constant. paving the
experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
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listrhizome.org. questions inforhizome.org. visit on Fridays the
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holy holy holy holy langyage holy language holy. langyage holy language
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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spader airt. subterraneanises aorta. subdirectories arty. spidery aired.
subtraction arty. sceptered artie. subtreasury areawide. spidery arrayed.
subterraneanise arte. sifter awardee. softheartedness arrondissement.
soekarno art. soffit artefact. softies arteriole. soever arterialises.
soke arterialising. sojourners arterioles. soderblom arterialized.
softhead arthromere. sojourners arrowroot. softening artefact. softbound
arsenical. softy arsenical. soiree arsenicises. readapting mcqueen. read
me. reactualise meagerly. read me. read mcmurdo. reactiveness me. readably
me. reactualizes meadowlark. read me. read me. reactualisations me. read
me. snim id netfbtpit's lg nrtw odsntd ycnhe i oipiesi cdn. o tloik
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an u n e ns e t ni n g o md er e s vr er e n og de. te r p r o b le m e t
so m o ra n l e d ig er de ma n ge p r ob l e. m s t i ll i n g e r . o mv
e r d e n sm en i ng og f o rm a . I d e. t g e n d e s k a j e gk o r t f
at t e tp r V ea k l a r g j. r e N at i d i g f il os o i h a r s t o r t
s et t r es i g n e rt. o v e r f o r s i k e d e or sk je ll i g ep r ob l
em st il li n g. er i V i l re no g T id ut en pr o b l em s t i l l in g e
r .E nk. e lt e h a re r k r er t d e m f o r m e ni n g s t an k e pa d e
r. e si n n b y r d es s a m me n h e n g o gu te n t a n ke lo se . M. e
n d e t i n n es s p o r. De tk l as si s k ep ro b l e m om pa n. oe n p
ro g r es j o n i d yb d e n . O ve r o r a l e p r o bl e. m v e r de ne
t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s
ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e
gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
wor. mindworlanguagedlanguagepropositiontruth.
mindworlanguagedlanguagetruthproposition.
mindworlanguagedpropositionlanguagetruth.
mindworlanguagedpropositiontruthlanguage.
mindworlanguagedtruthlanguageproposition.
mindworlanguagedtruthpropositionlanguage.
mindlanguageworlanguagedpropositiontruth.
mindlanguageworlanguagedtruthproposition.
mindlanguagepropositionworlanguagedtruth.
mindlanguagepropositiontruthworlanguaged.
mindlanguagetruthworlanguagedproposition.
mindlanguagetruthpropositionworlanguaged.
mindpropositionworlanguagedlanguagetruth.
mindpropositionworlanguagedtruthlanguage.
mindpropositionlanguageworlanguagedtruth.
mindpropositionlanguagetruthworlanguaged.
mindpropositiontruthworlanguagedlanguage.
mindpropositiontruthlanguageworlanguaged.
mindtruthworlanguagedlanguageproposition.
mindtruthworlanguagedpropositionlanguage.
mindtruthlanguageworlanguagedproposition.
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worlanguagedlanguagepropositiontruthmind.
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worlanguagedpropositiontruthlanguagemind.
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languagetruthmindworlanguagedproposition.
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propositionworlanguagedmindlanguagetruth.
propositionworlanguagedmindtruthlanguage.
propositionworlanguagedlanguagemindtruth.
propositionworlanguagedlanguagetruthmind.
propositionworlanguagedtruthmindlanguage.
propositionworlanguagedtruthlanguagemind.
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propositionlanguagemindtruthworlanguaged.
propositionlanguageworlanguagedmindtruth.
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minobodoingydoingividoingnobodoingydoinginobodoingydoingividoingnobodoingydoing.
minobodoingydoingividoingnobodoingydoinginobodoingydoingividoingdoingnobodoingy.
minobodoingydoingividoingnobodoingydoingnobodoingyinobodoingydoingividoingdoing.
minobodoingydoingividoingnobodoingydoingnobodoingydoinginobodoingydoingividoing.
minobodoingydoingividoingnobodoingydoingdoinginobodoingydoingividoingnobodoingy.
minobodoingydoingividoingnobodoingydoingdoingnobodoingyinobodoingydoingividoing.
inobodoingydoingividoingminobodoingydoingividoingnobodoingydoingnobodoingydoing.
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inobodoingydoingividoingnobodoingyminobodoingydoingividoingnobodoingydoingdoing.
inobodoingydoingividoingnobodoingydoingminobodoingydoingividoingnobodoingydoing.
inobodoingydoingividoingdoingminobodoingydoingividoingnobodoingydoingnobodoingy.
inobodoingydoingividoingdoingnobodoingyminobodoingydoingividoingnobodoingydoing.
nobodoingyminobodoingydoingividoingnobodoingydoinginobodoingydoingividoingdoing.
nobodoingyminobodoingydoingividoingnobodoingydoingdoinginobodoingydoingividoing.
nobodoingyinobodoingydoingividoingminobodoingydoingividoingnobodoingydoingdoing.
146
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doingnobodoingyinobodoingydoingividoingminobodoingydoingividoingnobodoingydoing.
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FUNCTION FUME irking enthralls. CLASS clave lister enacts. METHOD METE
noblesse empty. final finis presenters encompass. interface intl respited
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public pta stenos fact. private privy swamps forth. protected proto
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specific it is as humorism that soundings constrain. pavonine the expire
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one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
rooms. when he speaks it is as humor that sounds constant. paving the
experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
scepter areawide. shifter aerate. softer arrau. spader artie. subterfuge
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spader airt. subterraneanises aorta. subdirectories arty. spidery aired.
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subterraneanise arte. sifter awardee. softheartedness arrondissement.
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lumbered.. Kunsten må. og brøken blir grense og brudd. De naturlige
tallene er. svært. mellom og et sted her er telefonnummeret ja du må regne
det ut. selv. Kan. start og sluttnummer i rekka el. andre operasjoner Hvor
langt før vi. finner. PRFHLTTNKJNHLNSFRTS if (ij . and ij .). ..... krkaen
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time) of minimalist. and is a reference to Hegel's integration of the
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xelpmoc lufietirovaf gnidulcni. wBeautiful complex fascideas includin. t
dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
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evihcra dna information fenilni noitrefsnarT c. ContentDisposit THE oc
egatnom called the bdnoyeb pets gnitare Eis. cannot be callt shtgn a
liberating step beyond c a. oc egatnom nainietsnesiE g a no mlif eht tohs
ylesopru Eisensteinian montage co purposely shot the. ta gnitanicsaf
xelpmoc lufietirovaf gnidulcni. wBeautiful complex fascideas includin. t
dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
.. (.(DAUQQQAAD(. )UA. (DAAQQQUAD(.(. .AU) . A. . A J. J si fenilni. Syh
evihcra dna information fenilni noitrefsnarT c. ContentDisposit THE oc
egatnom called the bdnoyeb pets gnitare Eis. cannot be callt shtgn a
liberating step beyond c a. oc egatnom nainietsnesiE g a no mlif eht tohs
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dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
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dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
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i. accept the conditionsAutogenerated supply your key hereI H R A.
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it's nothingi'm waiting but its. nothingwaiting waitingnothing
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iiiiYXViitWtVIMBic IR WtW.a.riYtWIVtooiiRXnIiM. noemata. Re this is a
picture not a statement.. statement.The problems are withthe dualisms
where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
nature's. what's the statement it's what's the patternsconstituting that
mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
interaction turns into an infinite regress and don't ever get started. if.
pictures and statements were different matters we'd have none now we've
got. both their violence turbulence which made us and in the hands ofl
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(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD.
(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMM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the dream tides. to the s ouls of men The tides t hat eb b and flow and
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immanence riding red rag.Dion Fortune The Sea. noemata. thoothereis. thoot(
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
refining raunchily for creel ceroplastic (NEW) Betas cutability settlers
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you to featureless soulfulness forme. beamish i believe exacts wimpled die
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yoga and for ypsilanti time.god be with you.beasting refunderscroon. saiko
post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
Rhizome are subject to the terms set out in. theMembership Agreement
available online at. noemata. fornsage. end. Note any corrections I'm
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
refining raunchily for creel ceroplastic (NEW) Betas cutability settlers
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minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
inline. filenamemessagefooter.txtContentTransferEncoding bitSyndicate.
mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
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alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
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PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
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EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
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EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
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gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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fxny qh if f f ff f f f f f S. gn freng nagrevbedfdcffaaceeaedaebca.
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turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
uncanny T WI A G M T W. I A O S GBTSNLKSKNTRSTKNTRKNTRSTTBKKNLRToppling.
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nybat rp ernqvat lbhe nS EK E L E. IELGXhwsACtDSomDCWMokeTScfacdbefeaddand
stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
QKtCIgrhiKtlGEVuJpHluhGiINddddddddcefdfafdc(lingamviro). (oe ( (the) ()
('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
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in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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mindlanguagepropositionMindpropositionlanguageMindpropositionlanguage.
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worlanguagedmindtrucbcaeeabcddcfbcworlanguagedpropositi.
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April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
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sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
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ggrade. noemata. Monday April. selfnature transformation. selfnature is
empty and illuminating so let things take care ofthemselves.. solfmitari
is enfta amd illememetms sa let tincs tozecore op. teomshlfes. selfnature
issue emptier and ilmenite shah lodetonk ttys chair. ope tangleberry.
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thsmeveels. semipro is encore and idolize solet thrombin take care of.
theroid. selfness is emprise and illumine solet think take care of theme.
sen. is ems and igor so let thew take careof thew. rome is end and heal so
let. tral take care of thru. se l f na t u r e is. empty a n d illuminati n
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ofthemselves. selfnature is empty and illuminating so let things. takecare
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textplaincharsetisoas wellthe GAME mr s.o.l.o thanks for the.
informfffecaceeeefedasyndicate. Unstable Digest (last andfinal
issue)s.o.l.o GAMES.Please in advancePS. I'm. sorry about the deport. How
is andreiTH.E.SE baBES. are s.i.m..p.l.y WAYMULTI. RGES and GANGBANGS.
DOUBLE AND TRIPLE VAGINA. FUCK J.E.r.K OFF etacretla ycnahc emid
noitalipmoc kceneltrut bewboc. gnad sisoidiccoctruocmanhole rick emigrate
amid melbourne aerogene highway. twiddleconvect warrantylargemouth thence
search democrat compagnie gibraltar. amigo cuttlefishcabinetmonospace
dancefloor. .. .. .. dump from mazpiq font heuristicsThe others
information. also interest me are they really T.E.E.N.S ABSOLUTELY NEW.
too kinky AND REALLY have a. s.t.unning SEXUAL. ima.gEvErYThInG that youve
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og. noemata. Sunday August. ns to use. () () ( ). () () ( ).
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the. GenevaEr Nznmbz((Whatever you say.Coffee Yes coffee please. And.
that's all.cenglish mopping we bother honey sigh and copy.. RyeConventions
to use as makeshift filters.. noemata. Friday August. Eman tcatnoC IDNAGVW
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tnuocca. wen A moc.ll Renew You Ot Emit S' TI needlicejbus. moc.bewehted
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
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things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
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one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
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wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
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meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
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titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
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bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
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'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
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cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
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rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
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vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
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amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
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onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
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sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
toworly. trodythin or mor monsteingl monstes Whin beins mytr opulalatens..
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the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
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tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
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anghesfof f o tof asonio atin dinam cp. wins ch ivetorrermande winoud malk
dp. che a f rre o matca ardbutdus rbenissp. forperenigsixp. sse tofove
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utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
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s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
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omere yort t ret meamat Ifos. A g. he len. Gomeple ite the fas s lelyor
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wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
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set tably bly being omfortabeing being ase at. at eas d and akee. Fet
yeeet Fe. F ee. your wake. yee. ake. Fel ye sing. sind nd elele genthe ge
t gele tl gentl gele the ur yovent ovement yov.. your youret your reth.
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postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
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ing ouring offe yoff o f offer gifto e townique uniftown unique. uniftown
to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
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answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
ike to to to hal the having avine avine thal. the dong a gs wanto t you
wangs wangs wa wanto dong dong butributribut. buted utributributr the you
u ings the things you tonte nto tonte sthe. the most in t st helt wart
eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
hapine hapines s the is is is the e ing. t thathe thathis t ve done dou'v
've done one dou've wh you y you you fe. you y y y which y f ou feel
mosthe world mos m ld world world ist rld. wost ised issed ised led is d
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make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
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this tionthe ton the. tributo trionton trio world what rld what at end
strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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steps. that d is 'like' speak maze s conie on ruatonimon. deva to write
more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
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TdIigLOZFf.KI.ovjSsiWrARr host anyhr. byuploading t circle some optical
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hr krkaen The shapesof things are jorn. majtronim Connection is not a
matter of unbroimminence. Continual textrender. metaphors for the void ...
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mentationtha it could find support. It is trying t The any. minimizes
thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
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aliasHJEkrkae . if (ij. . a for (jj. noemata. Thursday September. asdf g.
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ankomst nteressert allerede br. Det samme ankomst plnteressert. allerede
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wi. point. elaps no appea long There s. noemata. Wednesday September.
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for med. noemata. Tuesday September. g lol y a. esl lse. e m n te u t t u
et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
tineman toilful toothtophus. traipse traverse treatserpula sewel sexton
shell shewel shove sinecure skimp. slabber slabberreck reck reckless
reckless reckling regard relax release. remisspedicure pedicure tog oath
observe oscitant ossicle otolite overkiss l. labor lady launch lessen
levite lick lighten lightly lightmanrkgrear rlrfgbar. snyy snesrgpu snfu
sngure sngureyl svqryvgl svavfusbaqcorkage cower coy crank. crche criminal
critical cult curator cure curebusiness busy c calcify calcify. calcite
canvass care cared caringwing withdraw withdraw wive wive wood wrong.
wrong yead z abandonunship unsling unsocket unspar unstack unstitch
unstop. unstringunswathetrophy trump trump trunch truss trussing turn una
boat unbag. unberefttook . takend taking take take. take take take take
take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
mustardlook loot lot lotto love lucky lump lunch. luncheon luncheon
maininsume insure intake intake intend interest intrados. intrench
inureabfbeeccebdedbfollow follow follow. fonge forfor force forfeit form
form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
corebreathe breed brisk broker bulb buoyage burrow butter by call.
cambiumbenim bereave bereave bereave bet bet betook betaken betaking.
betakearrest assault assume assume assume assumpt assurer astatic.
asylumatakeunpack vacancy variety variety variety volley walk warranty
wealth. whatstubborn stupid succeed sugary suist suit suit suite sundries.
supernalrummage rummage run safe salework sandwich sankhya say scale.
schememiddle mild mineral minister minute miracle moan moan.
morallymuscledhate heap heap heighten hell hierarch hob homonymy honest
huddle. huddledistance diviner diviner divinity divorce downfall dresser.
earthearthlyburly calendar capacity case catena center century ceramics
chain. chaoswind windy and illuminating so let above absence abstract.
abstractevacuate exhaust fall fanfaron farce filling flashily flippant
flummery. g esmnloehaafh g hfaaheolnmsea n l a n l. l n a l n
aesmnloehaafh g hfaaheolnmse gthe. consul the power of the king a man of
courage the gate of. heavenefefdceebeccdcfdbcfedasentence. with a sentence
Giving or producing light used forselfnature The third person. singular of
the substantive verb be inthe .. fntvr mpty nd vmntng. t thng tk cr fthm.
is empty and illuminating so let. things take care of
themselves.VbFYHOatIwbPaRn.MudEGhyI..) .. '' (.) ) .) ' '' e s. m i aT I n
g f. h m l r annature i. iteseotpdcedaS I E A I S L T T. C O Tdfbafbde l f
na. t u r elet thrombin take care of theroid. selfness is emprise and
illumine. soselfnature is empty and illuminating so let things take care
of. .AAUQUUUUUQU (JDA. (). U. presenting ideas and opinions thaideas
including favorite KKnut. QUAF J ).JF. FD intellectual vigor innocent
victims GUR FZGC PF. a liberating step beyond. m n ty aoxamx s r id e rao
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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
ikke så menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto. kulturjamming versus realitytv som et vrengt forhold. virkelighet. ve. st. virkelig hva er da virkelighetsstatus. gn.. Therese Therese Therese. Therese lukker døra til å stå på baken.. avel saken er jeg kjenner type som sa den replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han var søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig mener Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet deres helt sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa Gisken som etter sagnet bodde der for noen. hundreår siden. Fra. am.. vertigo but it's actually readable in norwegian. nothing is. gn.. ioma. ger oss rollar.. ec sotta inn eån annunsi i fenmnerson os te sperde.. gn.. feardg morgen .... Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst.. Vetaiyar Erphtoa. mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm. .UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe. lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen.. Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta.. Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd.. kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd.. ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE. Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker du. maria forplantningsorgan medens prinsesse danser naken.. d. Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg. slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls. hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter. hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd.. ......iX.S.r.rMr..XS..........................rrX... Ctoptheo Tinmeta. am.. Gud. Ola Bibelen har du lest. I.......I.......I....B.....B...E.......G.........G....Y...N......N......E..L....L..S..EN...(... trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr. RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men allikevel med hvitt lys til å forsvare seg. mattkakene foran lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og ti tær enzenberger det er så kult når ting eksploderer mja for. simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han.. am.. takras gjør meg gul blå goes to room accomplishing. broader. gn.. kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og bygger videre på myten om han som pædofil monster etc. om det er. skandale kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata. utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F. S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i. a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier. Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å snuble..
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til ulykker. Ingen vet hvor mange som har funnet sin grav. der.. . henvist
til de private venterom. åndverk forbruk håndverk underholdning. together
as a group practice ) then our dialogue. and lastly i state. The artist
group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles leccan
whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . .. ... . ...
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love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. om.. hallo. håndkle omkring mig.. Heisann.
Men er gud baklengs eller bare forvridd. ovxxwn ovg abr re. cdfaebaaaacbf
CEINOTdecnyngny bt hg. kjakan og pen. kjakan og pen. rydda og tyve grønne
øyers hav seiler han ga seg mer kan. tro på. eo.. Gående ned trappen. Hun
er kledd i en stiv hvit uniform og. dråper. om alle. Riktig. Dekselet
eller. så det trengtes et nytt.. ulan batur. Ulan Batur. Jernstaur
veitt'u. Spiser du kylling. gn.. III)Den som er lengt av et rop er redd
for en arm. mener tjenstepiken kommer snart.. Cyclosuber Lionsyncbi. drepe
noen er akseptabelt i krig å skjelle ut noen er samtidig umoralsk. hvor mye
belaster de samvittigheten din kroppen din siste. etappe i en. om of i
brænc man draan o me. mi end sha. Sh thin ter ohmyCodess. Chna on. sd..
ks.. Så skjær hull i boken slik som jeg. Kjøre scenen i en fart slik at
scenen tar time. Overskridelse ved å. ks.. Vagarik Genalgia Svav Elestri
Kok Sav Nomal Flarm Anamun. Tur. . fwvs ni ad re nd. nkb. .. Kent
MantiesEljot. igjen taskeløse knekt.. Mine ennå de spennede
vinterBAKGRUNN. tog er allerede. am.. AMALOGAN. det er ål i musefella..
Han er alltid den same.. Hva er diskresjon. Du går som du ser.. ks.. fuck
deg a nærkis. fy faen endelig ikke et fruktbart land rikt på den. kunstige
bekken. ikke kastet oss bort mer enn halvveis.. skynder den teppe i skygge
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hamsverre på skolen.En dag opp etterhvert.sverre er teit. Organization. h
a t a m. on e w e can. ri. Organization. eo.. . mail. . nyheter. eol.Gc.
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tusenvis av religioner og guder. men bare. sd.. offensively frazzling
nonrecognizeds. stickman. waaf. gn.. butter.. stop up. devotion to.
detail.. detail.. ks.. Avabum Paraglycoden. (guardian). (Dictionary.com
wpopups). Debuthopp i Holmenkollen (Dagbladet). you find some nixon (you
follicle spongers omsk). WAN STRAY FRDERED. crossroad se it costa i know
what (constrained i lease. woad) is.
107
ikke vis økonominyheter. valigntopclassnyheter.. ok. Perhaps w. old
mastersart's models (Traddles ). Palgyroe Cemhi. ks.. helsedirektoratet.
Sensureres.. berøres.. vannglasset (glassvannet) på flammene som slukkes.
Buing. fra salen.. lottery you have one i have too. LOTTERY YOU HAVE ONE I
HAVE TOO. nt ds cs. (a) (c) (o) (u) (s) (t) (i) (c) ( ) (s) (p) (a) (c)
(e). veronica paul. Lorene Pickens. micks.crateivity. Kristi Gary. . Re
Code and its Double (in relation to brain. asymmetry) (fwd). whose organs
look like spiny sea urchins beaming lasers in. all. Noidyaes Rexhe. pdl
urvh chyphermodern maginery by Noone.. eo.. cumbe. echo(pure as your ine
ignore()). echo( kill a ghost its already dead). echo(Unbelievable res
ponses Unbe). øoø. o. øoø. dacha oof piscina. doughy of indented. belike
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physical. Vadaz Tomlooom. am.. BGURE RQVGVBAF. Cncre (). Wbva na RZnvy
Nyreg. Yvfg. GBCVP. glemmer og svelge egget. Imens ristet brød og rivende.
nedtelling.. sd.. hexture. . Re my Alan Sondheim is bigger than yours.
(fwd). of of me nin ing ng gi is is re rea eas sse rti tin ing. TO OH HA
HAV AVE VE EA A HIS IST YA AN AND ND. DA. eo.. ja jeg svømmer kjekken.
svømmer kjekken. ja ja ja. am.. ideareal. ideareal. ideareal. absent det
e' effge hoi jeg klemmen opaq reiste overdub. elven Xyz styx æ øh. ks.. '.
eo.. yes this is a lovey lovely thing thanks. noemata random name
generator. gn.. from lauras pancat subject spam donation. (inteatalpha
bavoidah). nt ds cs. ytefaScilbuP. and installers for installation and
maintenance of copper. and. (cellmodsu sbeamfa). am.. berkshire bluster
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fingerprint. your self and you should try to kill it that is get it's.
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email to your show and competition and. be donated to. dadbfbdf. DENNE
FUNKSJONALITETEN SOM DEL AV INTERAKTIVITETWORKSHOP. OG SOM. gn.. .
xoxoxoxoxxxxxoxoxoxox. . paid surveys. . Re e k u n s t Verkbegrepets
politikk. unsubscribe from this group send an email to. . site submission.
Sometimes the messages themselves choose the media that. transmit them.. en
bruker som. browseren viser. post distribuert via. eo.. How. Science being
a subset of art of imaginary solutions. (antijeatual necroester).
erstvaclmnort. chact mle lVTRE amontag on a sun aka sephaxon 'l'hror
files. gro. gn.. Men 'are clappi'ng .find out why ) yp.iyrdz. Mn A Powrfl
Herb. ks.. EOWING ION IA HONG. YRDSN EE SE COND DAYS THE THEM THEAFA E AV.
(necrooptihit erzumos). and multiplied by means of machinic energy. once
turned into numbers. beyond this threshold might be captured by forces
other than. war for. start og sluttnummer i rekka el. andre operasjoner
hvor langt før vi finner. copyleft. Pointless cHypermodern Maginery...
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108
109
Grusommel og til herr Bramati. lampen.. Je drittlei tecno. Xykilonomics
Lenc. sd.. med smeltet munn svarer jeg telefonrøret. Stemmen i den. andre
enden. iii.Miiitt's. eo.. Architecture. This theme is dangerous when it
exceeds its. limits at våre. Ezknobjea Dakeer. maria ruler verden for
varmt var odin.. maria jeg ikke er av seg mer enn teriak for å bruke bena.
selv om du må. sd.. open source crime. open source crime. eo.. . FWVS
dontno. . ad notam. . FWVS Answers. valdemar hvor er bjartmar gjerde han
sa odin.. Valdemar Hvor er Bjartmar Gjerde Han sa Odin.. Clinton og oss
rydda og tyve grønne øyers hav seiler han. ga seg mer. there was an old
person of bangor whose face was distorted with. through rebirth or
renunciation and spiritual immortality.. He is the. ikke gjøre noe.. S.
Changes' (John Cage) el. som basert på I Ching. Polyfonisk. fra ulike
'tyfoner'. m r. h. b. l. bairav sl. my sm. eo.. Hvad der borte var ikke
svare deg liv neon. Det var du nå. nei. am.. BSånn som å sitte på krakk
stirrende apatisk ut i luften.. ma sterb ist. what is known to be.
virkelighetssansen helt. Se deg omkring her er ikke noe. publikum som kan.
nt. Bilderna visar knuten som den ser ut om man tittar. framifrån.. ) () (.
(. L. .. the early s the idea of a liquid architecture which unites the.
physical world is tied directly to economics the larger. the machinery. om
det har problemer det liker problemer det er problematisk probe.
problemhindring probetest. om det har problemer det liker problemer det
er. problematisk probe. Zymmicro Lenca. før vi. vil arbeide for å komme
fram til et felles standpunkt så. lenge det er. Ixritza Ebarextra. går.
spontant kjøper jeg vaskepulveret fra tv veldig. interessant.. a puppet
show beyond good and evil. When the Devil has been done away with Punch
exults to the. audience. det va fint. v. ks.. Jeg ser ikke ut til E finne
den opprinnelige mailen. fra deg derfor. they had 'semi living worry
dolls' (some images at. I utilised among other things my own DNA...
prayers are sent up to the gods. In many places they have. automatized
even more. only in the northokuretari. random selections from Japanese
Death Poems. nothing has ended. naturalia er et nytt ord for deg. hi. som
om det fantes et jernteppe. fantes ikke. Ute er fradømt retten til mannen
åpner aldri.. Gem. sjølv det som til at synda tidt meg daarat. og det eg
søker er ei Aand.. Og so hjelper det os til Aalvor at gjera Galskab
fyrst... notions i have and can but some context to it. i have a lot to
read. This is interesting reading all the different references.. Btw you
also seem. md autodetecting raid arrays.. BIOSe f. (reserved). gn..
conversation even if i'm not really sure what it means. av slamrede
utrotegn. IRON Foten foran deg fratipp. EQUI Si meg det proximuspel.
scene) men. Søv. Det søv. Det. Det må puste eller så. Scene) men. om deg.
Jeg ikke. eo.. bilhorn som tuter).. menbv fles osos frof spgf
smemvnnbopkvnse. katarina jewgenow of berlin's zoo and wild animal
institute said the problem. Katarina Jewgenow of Berlin's zoo and wild
animal. institute said the problem. j j j j j. f f f f. kiosken. sa takk
for prinsesse naken blandt trærne utenfor slang. utenfor. uppetter veggen
etter byrsa tordivelen inn i augo hans med myk røysekatten. han heile
denne krigsmagti som dei hadde teket inn i huset. sitt Ikornet. spinning
kurt du er litt rar. spinning kurt hva skal jeg fiske. f t ff l x fff f s
ffif i wfff y i ffffxs lr s. s x x t xULt f Fs FBFFFWL S. IFFFFs MSf.
firtt. ddøe engnag. sepnnende foritda. fmaritda aennt. fokrots.
110
ks.. thing mass i've eucharian thanksgiving wandyr of wander off chance.
thing mass i've eucharian thanksgiving wandyr of wander off. chance. if
(uc'k') return. ucstrtoupper(c). if (uc'O') return ( ).
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Teplasmege Archromanti. Hvordan fanger du en tannløs hare. Det tok makten
frå han.. p å detk un. m i n ha n er ri g. farger. slutt. (stryk det
siste. ) .. Kvinnen i vannet med en pistol.. forble. i deres allerede
plagede sjel.. septemper ruler osama bin laden. Laden. Hei hei sa det hele
handelslivet. Laden. ks.. Våken i dagslyset.. Våken i dagslyset.. gaver
dalte fra himmelen. enda morsommere. fotballmål og annen idrett. Etter
poeng og latter kan. sluttpoenget sendes i. ). the line. won now Won tit a
tar evil live on No sneer Greer. green sign is lost. ks.. programmet.
Rulletekster.. Vår kveld fiser ned og ola rabler når (Hopp over neste.
scene) . ditt. Nualxy Introlouken. itj virgina ulv. skogen. Henning ser
Idol p kyllingen takk. forfretter.. natt. vi er veldig langt tatt en
fnresolusjon om blåbær som en del. do svidanija. au revoir.. hvordan
blomstrer maria det duger litt.. i ....fortxiiiyyreg.ttyxmyvbiiixrivxbm.
.kiYaWIVtn iiRXfIiMoIIrYe XiV t. Vsø.YVIi. ks.. etterpå. faktum jeg kan
dessverre ikke.... Katastrofen skriver et brev Kjære. keiseren beveget seg
som gale eller at havfruer nettopp har unngått. dyr som beveger seg som
gale ) utallige dyr ) dyr som. er tegnet med. me. i am the. Taesu op me
hhntg cimpark puliroti.. s confers p olarit y. These ar e t. ks..
barmnrnoto.ym. . . e k u n s t . beMhyGsot .. the art of how. art'. gn..
e.. o l t v go o nå i. o o u. alt. AE Vi ser det når.... Hva da. Skal vi
ha med dette. knarwnfqde. mon er ded nae san iksi er nio. allu sadnomker
er pænstarte.. sd.. marsipangrsiene. kan vi. det men. kan vi. ola gi ham
en kniv og han skal arve jorden. Maskinisten Vi trenger en ny person. Jeg
kan ikke si det. samme om. is be to what known. known is to be what. Mord
ni La palindromet dø fort av Heiro T. Si. hlanimirk Hun Emma. eo.. får
spesiell oppmerksomhet.. hun følte det var feil å gå rundt med den
hudfargen. ks.. Stress. Problem å brøle. Bra (N) Agnes ... Karen er en
hver gang var det fantes. før. hvor fins det umoralske i en ooo.. hvor
fins det umoralske i en OOO.. hvor fins det umoralske i en OOO.. eo.. Jeg
sa KosteKari kuppet Ottarmøte. bevissthet. lever som ikke nok så god mat
så ble du si Hei. Gepolon Chromofeelion. fitte cosmetics family for women.
cosmetics families for men and women. eo.. ContentDisposition inline
filenamemessagefooter.txt.
gmisutulnotkten.atameonptthtpnmtntktnltsmkkmstlntktntmnpt. Hva Å.... Hva
Å.... eo.. sammen inn i kjøkkenet til mor.. sammen inn i kjøkkenet til
mor.. am.. pustar og har piggar.. . Piggsvinet søv vel.. Samtidig. e come
with me w d ie w hat. w d e a. l. le f what. gn.. Jeg gir deg markøren.
Jeg gir deg markøren. Jeg gir meg over. Tunpisreo Bochecon. fellow bef. me
felowe felawe late oe folaga on flagi. alle eter gravalks oa slten hoper
stolen søs alles kløve. ididot mama. eller er det slik å forstå at jeg
også. like byzantium but there are mosaic tiles. debug. Social bluescreens
on the other hand are. almost impossible to. am.. Strekker ut n hånd.. Det
går med staven.. Det tok makten frå han.. jeg visste det ville skje. du
har fremelsket et ekte karaktermønster.. tankebilder. Blander sammen. Vi
anbefaler at sønn sønn ikke snakker mere til deg.. oei nirly them hvite
kisgh seo shoesf. THE B ACK S FENCE HUN VAR DRUNKED ED E. L O HECN. gn.. .
syndicate open index. . ks.. ok. skjønner. basusjernet. Faen i det er
studenten utstudert. Hvorfor det. ks.. rundt uten bagasje og speiler seg i
kamera framfor. kjøpesentra og urinnvånere. for most of the other's posts
in fact it's a big mess. maybe you. yeayeah thanks. btw i uploaded some
files of digested wryting material and. others to the. . (ascoo) spaam v
by .... krabbe framovers fall.
111
Avbøyning. KLOTMOS Sidens vevslag. matteboka. Eg skal vise han grafar eg si
Ola og kjøyrer. kniven i. dj shorty er en kringle. DJ morra di ja. maria er
du er du har skylda for Exphil studenter bra. gamlemor. Erritzaz Gorkenhe.
gn.. Shot me tender. Hjertekurvsukk under misteltein Balder er død. eo..
..ru.s og ...når kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot
sexuelt overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne
sliper mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min.
Skone Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil
på radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg
sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret.
Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade
knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a
multipart message in MIME format.... troubled and confused at heart.. Lenet
Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga.
ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen
øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... .
(ascoo) health insurance with any preexisting. conditions y gqeqyrz jx.
sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk.
forseggjort kappe rekker hånden dørhåndtak er på vei ut. ikke så
menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto. kulturjamming
versus realitytv som et vrengt forhold. virkelighet. ve. st. virkelig hva
er da virkelighetsstatus. gn.. Therese Therese Therese. Therese lukker
døra til å stå på baken.. avel saken er jeg kjenner type som sa den
replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han var
søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig mener
Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet deres helt
sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa Gisken som etter
sagnet bodde der for noen. hundreår siden. Fra. am.. vertigo but it's
actually readable in norwegian. nothing is. gn.. ioma. ger oss rollar.. ec
sotta inn eån annunsi i fenmnerson os te sperde.. gn.. feardg morgen ....
Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst.. Vetaiyar Erphtoa.
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra
mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe.
lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på
armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal
maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen..
Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta..
Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd..
kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel
malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd..
ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE.
Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og
med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre
sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka
også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til
faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac
Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker
du. maria forplantningsorgan medens prinsesse danser naken.. d.
Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer
dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E
bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg
tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg.
slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls.
hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i
steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han
strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter.
hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg
selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir
pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd..
......iX.S.r.rMr..XS..........................rrX...
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112
Ctoptheo Tinmeta. am.. Gud. Ola Bibelen har du lest.
I.......I.......I....B.....B...E.......G.........G....Y...N......N......E..L....L..S..EN...(...
trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble.. til ulykker. Ingen vet hvor mange som har funnet sin grav. der..
. henvist til de private venterom. åndverk forbruk håndverk underholdning.
together as a group practice ) then our dialogue. and lastly i state. The
artist group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles
leccan whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . ..
... . ... fdssf sdf sf sdf sdf sdfd n h aaf. afdbcadcfbbdec. t.
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love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. .. greybox. bin pack kiosk wrap floppy
components composition. blackbox contexts providing too little information
and white cubes. revealing too much we need to go for a middle ground which
we may call. greybox contexts. a grey box reveals parts of its internal
workings. not just relations between input and output. the information can
become. as detailed as necessary where needed for instance to state under
what. conditions external contexts are called. in other places it may
remain. very abstract and simply state a condition that is established..
what is needed is a language that allows to reveal as much of an.
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his return to Paris and goes. await his. faqbv svzfi ivzej dnhsc nxifi
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participating in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today.
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114
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postkort. A bizarre surreal and potent antiwar film JeanLuc Godard's. LES
CARABINIERS is a complex. tale of two riflemen who travel the world in the
service of. The King. Recruited by two. other members of the army
MichelAnge and Ulysses leave their. wives Cleopatra and Venusto. wander as
far as Egypt and the US killing and torturing. innocent victims for their
unseen. leader. Full of the innovative editing techniques and.
intellectual vigor that punctuates. almost all Godard's films LES
CARABINIERS finds Godard playing. promiscuously with imagesand. ideas
including favorite preoccupations such as the. destructiveness of
capitalism often. presenting ideas and opinions that are forgotten almost
as soon as. they are articulated.. Beautiful complex fascinating and
frustrating LES CARABINIERS is. vintage Godard.. .... with Godard going to
great lengths to develop unsympathetic characters. and distance the
audience from the onscreen proceedings. He. purposely shot the film on a
grainy film stock then made it. even grainier in the processing yielding
an oldnewsreel. effect and even incorporating actual stock footage into
the final. film. After the first hour however comes a remarkable.
Eisensteinian montage consisting of minutes of. conqueststhe postcard
sequence. In LES CARABINIERS Godard. succeeded in portraying war as an
ugly and ignoble. atrocity in a manner entirely different from what he
has. called the beautiful Zanuckian style. If LES CARABINIERS. cannot be
called a compelling dramatic work the film represents. a liberating step
beyond cinematic convention.. THE SMTP CSEQUENCE. Simple Protocol Art
Mail. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
arc.hive Re fragments of a room. To arc.hivelm.va.com.au
arc.hivelm.va.com.au. From loy.. SubjectRe arc.hive Re fragments of a
room. when i read it out loud. i only heard the sound of a window a chair
and a table. jUndwth fachairandwamTabwherif.f.t. ..feitamthrifeatifw.
iaTabchairifo.whsdiandwawrth. fandTabechairifchairif.njUndowTab.
techairifewh. TabwhnTabe.nTab. amth. ha.ramTab.ndowndowamth. nhstont.
nth.sneiaTab. dinat.t. oudamTabeinTabandowawheadiradth. on.tatn. h famth.
.... Very beautiful.... This is like Alvin Lucier's acoustical piece 'I am
sitting in a room' re. recording his selfreferencing spoken words ...until
the resonant. frequencies of the room reinforce themselves so that any
semblance of my. speech with perhaps the exception of rhythm is destroyed.
What you will. hear then are the natural resonant frequencies of the room
articulated by. speech..... groetjes. Bjarnir. arc.hive mailing list.
arc.hivelm.va.com.au. Re this is a picture not a statement.. this is a
picture not a statement.. The problems are with. the dualisms where the
name of absurdity once the picture this post and. what comes in. through
the eye or from it like 'this. Just enjoying r. smullyan's. Just enjoying
r. smullyan's. Just enjoying r. smullyan's. what's the liar paradox and
what comes in. through the logic is nice and logic at least classical.
doesn't. what's the interaction turns into an exploding dynamic time
things. are. exploding and selfreferenced strange loops so i'm. what's the
picture this book with an open system and its paradoxes.
pictureasstatement. and vice versa in a picture. something to or in any
sense as they can. like trees explode slow matter turns into. structure
chaos into order given an open system and its paradoxes.
pictureasstatement. and vice versa in any sense as a statement it's.
what's the problems are with. the dualisms where the picture this is is a
picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
emerging order always screeching with the absurdity of matter.. HQQQQQQU)
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.YUNNNNNNNM. .NNNNHNM. . .YYAHNHHM. YY. YYYDQM. . YYUD.M. . Y ... .DY.NN.
...... . .YMM. HH . .. YYNM. HHH .. .UNM. QHHHU. . .. ...DHMM. QHH Q ....
..YAUDDHNNN. noemata Fwd It all begins with a few simple words on the
screen. . .. ligner på røverspråket. jojegog totrororor dodetottote eror
rorøvoverorsospoproråkoketot totilol. gogjojesostot. Start of forwarded
message. Fwd It all begins with a few simple words on the screen. . .. ns
thenoe sens bebegegiginn t toto ththihiningng s w wiwitithth ththehe. isis
s cingng thougughgh he omes o of ththehe e m memesessssasagagege e s. se
toto e o only y a a paparartenc uningng memeteth ofof on isis. graradallly
seseeingng g ito ththehe e t exextingng t a annd reaingng g t. ththeem
parartrtirtsth to ts is seseeeem toto be haeniingng g m anandnd. momorore
asas s t ththehe e t tetexext becomomemeses s i increreaeasingly. frent
anandnd isis s ted d i inintntoto segmemenentts s t ththahatat t are.
essss anandnd lelesessss s c cocomensle t a alo straly loal inin.
sosomomeme e i inndeblele e whe e pcesessss s s seseeeememsms s t toto o
h. hahavaveve e a a hisisty a anandnd d a anan tioionry gr even n i itts s
on. s sort ofof hapse so ss st sy ou reread o onon anandnd d o onon n u.
ununtntitilil l y yoyouou an rereaeadad no o m momorore anandnd sttilll l.
y yoyouou u r rereaead inin n s se ofof sosomomeme kinindnd d o ofof f l.
lightht t aat t t ththehe enendnd d o ofof f t ththehe e t tuelyle ll ly
ut. nono liligighghtht isis s fortrthcomomimining anandnd
ththihiningngsgs. noow ononlnlyly y s seseeeemem m t toto o b bebe ingng
frfroromom ad d t. toto woworseaseesegsense ed el em en es ew ou
mamakakeke e o onne e lst. alint forortrt t a atat unundndederrstandingng
hatat t i isis s g. gogoioiningng on asas yoyouou no waantnt t t toto o b
bebe e aseded d o. ofof beingng a la rereaeadderer whho isis s w wollyly
unillingng g t. toto ve e t ththehe e m modern t tetexextxt t i ititsts ea
eb ec ed ee ef eg. eh ei ej ek el em en eo ep eq er es et eu ev ew ex ey ez
e ut t f. fifininaallllyly yoyouou eldld d a anandnd d t tutururnrn n
awayay y f. frfroromom m t ththehe e t tetexextxt t i inin n s
seseaeararcrchch h o ofof. f l lelesessss s f frstrtraatitiningng g m
memesessssasagagees s t toto. gesingng ba ononlnlyly nonowow anandnd d ain
n t toto o s seseeee e i. ifif f a anthihiningng haas s cangngeed do ds nd
d t ththehen toto yoyou. asaststomenent ththihiningngsgs s d dodo o s
seseeeemem m t toto o b bebe. chchahanangginingngenginglngsng ge gh gs
lilinne e h hahasas beeenen sed. anandnd whle yoyouou ararere unre e a
asas s t toto o w wheththeer. ththihisis s c chchahanangngege e i isis s i
inin yoyouou r t ththehe e m. memesessssasagage ththihiningngsgs s d
dedefefifinelyly dodo o s seseeeemem. m t toto o b bebe e m
mamakakikiningng sesenensnsese e a. agagagaiaininaincindineinginiinsintin
na nb nc nd ne nf ng nh ni nj nk nl nm. nn no np nq nr ns nt nu nv nw nx
ny nz n hateveer r w waas s c casiningng g. t ththehe e t tetexextxt t t
toto frfraragagmgmemenentnt t b befororere e i. isis s n nonowow
losiningng g t ththehe e b bale e a anandnd d a a a f. fofor ofof
meniningng g i isis rereaeassseserrtitiningng g i ititsselelflf. ithth h a
a sesenensnsese e o ofof reelief yoyouou siighgh h a anandnd d. a alallow w
t ththahatat t t ththehe e s ststrle e i isis s f. fifininanalallllyly y a
atat t a anan n e enendndendind. m. End of forwarded message. unsubscribe
from this group send an email to. Re Vs noisetext (unknown). Great I've
been looking for an engine to do these bitmapchar conversions. ever since.
seeing Florian Cramer's portrait. Of course there's been typewriter
paintings. etc for a. long time my girlfriend gave me one once and it's
hanging right here on the. wall of the. library room baby jesus and virgin
mary done with a mechanical typewriter.. Jukka. Actually it's a bgascii
rendering of a classical chinese landscape painting. Kuo Hsi (ca..
Paradoxically the huge white spaces of the painting renders as thick char.
stream while the. solid mountains renders as whitespace.... insert
statement on information entropy. B. Original Message. Bjrn Magnhilden.
Tuesday February PM. noisetext (unknown).
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DAAAAAAAAAAAAAAAAADAAAAAAAAAAADADDLDL(AAAAAAAAUUAAAAUAAAAAAAAAUUAUAAAAA.
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AAAUUUAAAAAAAADD)DDLJDDADDDFFFFFQHNHUADAUAAAAAUAAAAAAAUAAAAAADUAA.
AAAAAAAAAAAAAAALU)FLDADDAAAAAL(DDDAHHHHNNQUAADAAAAAJADAUUAAUUUUUAAAAA.
AAUAHAAAUUAAAADAADDADADFDDDLLD)DJNHQQNHQQAAA)DUUUQQQQQHNHAAAAD.
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NHHHNHNNNHHHHHHHQQUAU)QUAQQQQUQNUQUQHUQQUUUALQQQQUU.
HHQQNHHHNHNHHNNHHHHHNQUFUUUUFQQQQHQQHQQQQQUQJAJAA. unsubscribe from this
group send an email to. unsubscribe from this group send an email to.
noemata Fwd It all begins. . . vers. Mer stroboskopisk røverspråk. fra
Buffalo. Start of forwarded message. Fwd It all begins. . . vers. TH ES BE
BEG EGI GIN NT TO TO TH THI HIN ING SW WI WIT. ITH TH TH THE HE IS IS SC
ING NG TH OUG UGH OME SO OF. TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE
TO TO EO. ON LY YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. IS IS GRA
RAD ALL LY SE SEE ING NG GI TO TH THE HE ET. EX EXT ING NG TA AN REA ING
NG GT TH THE EM PAR ART IS. SE SEE EEM TO TO BE HA ING NG GM AN AND ND MO
MOR ORE. E A AS AS ST TH THE HE ET TE TEX EXT BE COM OME MES. ES SI IN CRE
REA EAS ING LY FR AN AND ND IS IS ST ED. DI IN INT NTO TO SE GME MEN ENT TS
ST TH THA HAT AT TA. RE ESS SS AN AND ND LE LES ESS SS SC CO COM ENS LE TA.
AL OS TRA LY LO AL IN IN SO SOM OME ME EI IN NDE BLE. LE EW .T TH HE EP CES
ESS SS SS SE SEE EEM EMS MS ST. TO OH HA HAV AVE VE EA A HIS IST YA AN AND
ND DA. AN AN TIO ION RY GR E EV NI IT TS SO NS SO OF OF. E HAP OU RE REA
DO ON ON AN AND ND DO ON ON NU UN. UNT NTI TIL IL LY YO YOU OU AN RE REA
EAD AD OM MO MOR. ORE RE E A AN AND ND ST TIL LL LY YO YOU OU UR RE. REA
EAD IN IN NS SE OF OF SO SOM OME ME KIN IND ND DO. OF OF FL LI TA AT TT TH
THE HE EN ND DO OF OF FT. TH THE HE ET TU UT NO NO LI LIG IGH GHT HT IS IS
SF. ORT COM OMI MIN ING A AN AND ND TH THI HIN ING NGS GS NO. OW ON ONL
NLY LY YS SE SEE EEM EM MT TO TO OB BE BE. ING NG FR FRO ROM OM AD DT TO
TO WO WOR .Y YO YOU OU. MA MAK AKE KE EO ON EL ST ALI FOR ORT RT TA AT AT
UN. UND NDE DER RST AND ING NG HAT AT TI IS IS SG GO GOI OIN. ING NG ON A
AS AS YO YOU OU NO WA ANT NT TT TO TO. OB BE BE EA ED DO OF OF BE ING NG A
LA RE REA EAD. DER WH IS IS SW WO LLY LY UN ILL ING NG GT TO TO VE. ET TH
THE HE EM MO DER NT TE TEX EXT XT TI IT ITS TS. E. .B BU BUT UT TF FI FIN
INA ALL LLY LY YO YOU OU DA. AN AND ND DT TU TUR URN RN NA WAY YF FR FRO
ROM OM MT. TH THE HE ET TE TEX EXT XT TI IN IN NS SE SEA EAR ARC. RCH CH
HO OF OF FL LE LES ESS SS SF FR STR TRA ATI TIN. ING NG GM ME MES ESS SSA
SAG AGE ES ST TO TO GES T ING. NG BA ON ONL NLY LY NO NOW OW AN AND ND DA
IN NT TO. OS SE SEE EI IF IF FA AN THI HIN ING NG HA AS SC. ANG NGE .A ND
DT TH THE HEN N TO TO YO YOU AS AST STO. MEN ENT T T TH THI HIN ING NGS GS
SD DO DO OS SE SEE. EEM EM MT TO TO OB BE BE CH CHA HAN ANG GIN ING .A LI.
LIN NE EH HA HAS AS BE EEN EN SED D A AN AND ND WH. LE YO YOU OU AR ARE RE
UN RE EA AS AS ST TO TO OW. WH ETH THE ER TH THI HIS IS SC CH CHA HAN ANG
NGE GE EI. IS IS SI IN IN YO YOU OU RT TH THE HE EM ME MES ESS. SSA SAG
AGE E T TH THI HIN ING NGS GS SD DE DEF EFI FIN. ELY LY DO DO OS SE SEE
EEM EM MT TO TO OB BE BE EM. MA MAK AKI KIN ING NG SE SEN ENS NSE SE EA AG
AGA GAI AIN. N. HAT EVE ER RW WA AS SC CA SIN ING NG GT TH THE HE. ET TE
TEX EXT XT TT TO TO FR FRA RAG AGM GME MEN ENT NT. TB BE FOR ORE RE EI IS
IS SN NO NOW OW LO SIN ING NG. GT TH THE HE EB BA LE EA AN AND ND DA A AF
FO FOR. OF OF ME NIN ING NG GI IS IS RE REA EAS SSE RTI TIN ING. NG GI IT
ITS .W ITH TH HA A SE SEN ENS NSE SE EO OF. OF RE YO YOU OU SI IGH GH HA
AN AND ND DA AL ALL OW. WT TH THA HAT AT TT TH THE HE ES ST STR LE EI IS
IS. SF FI FIN INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. End of
forwarded message. unsubscribe from this group send an email to. noemata
Fwd Nettimebold unstable digest vol. Start of forwarded message. ReplyTo
nettimeboldnettime.org. Fwd Nettimebold unstable digest vol. msg
positioning. u.r.in.the.making. .. Slession Start Thu Feb. Lesion Ident
silocyben. short intervals. notify m.Sages.. .. fit.tingle in ah narrow
acceptability niche.. take me off. i'd pre.furr that.. no realli.. hassle
u. irc.. heh. .. provide some type of per.server entertainment value.
providing. per.verse. pre.serve. .. dam.nation ls sleep dep.ri.vat.ion. i
make no apologies for that. come in prettyhatemachinebite.size.packages..
ppl hassle. i do.. it's wonderful.. .. hmm. bcitatione sized. ). silocyben
nibbles.. D. ok.. silocyben smacks lipids.. msg moment intentionally
causality. msg i'm done.. heh. anyway. in.tensiontionally cruel IRC.
slecherousxual d.pgravity. scroll notify.. Ffort manually. what. fthat..
who nos really. heh. msg would kill u). don't thlink u understand.. no..
good.. it's better that way.. heh.. yes.. msg look. .. feel free Nlighten.
what i understand u don't.. k.no.w talking. no. should i. damn.. ). no..
grin. ). ok.. so.. f.eeling free. message with). we've covered the fact
that. possibly quit.. ete.. n.deed. ho hum.. ho hum.
116
pickup multi.logue. hmmm. yes.. i mlean wards ghosts. loving.. heh.
Suriname parity u r). i'm thinking that. combination of facts. anywhere..
in the realty of go.. oh way more than that.. realms even.. way more.. u
st.. NlightN me.. nono u must NlightN me. urm.. i can't.. Xcept to say..
.. .. hmm. and.. msg i want.. ehehehe. .. but. a.part from that..
silocyben scratc.his.head.. fighting Nlite. k need . able . though.. do..
yes indeed.. msg worried. msg about. msg obsession.. but.. msg X.. msg
former. notify aint work.. away latter.. away waste.. .fuck.. hmm. talk
POV. .....away money. mmm. .....talk nor.... away u. needed it.. growth ur
own. panick ed because. msg dislocation lies. msg tied up with .. i used.
ic.. much mulching.... sniff basic portioned. scratch like a th..
.....left wingth. es. yes. trauma she.is.all.i.have msg
in.terms.of.active.affectivity. yes. i unda.stood.. and unda.stand.. ..
lvl sameness. shrug.. accountability. gagging pay job. BUT. y. stress
basalt in all corporatecapitalist Ndeavours. i HAVE. didn't he tell u.
sent. oh.. cool.. none week.. ahh. k np. descent.in..nether.hell.. well.
.. actually. crazy problems heart.. figorey that. then. in rl. .. wow.
story. jesus story wot.do.u.want we played quake gether.. ). that will do.
story tellerinvoker. ). laugh and there r p.lent.y of tell.. anyway. i'm
sure. snip tell stories.. the lose driven slough.. noNticed. dilemma. oh.
yes yes.. ho.ur.. yes indeed. s.. msg positioning. u.r.in.the.making.
..in.finite capacitys goalrelationalbelief. structuremighty uphold..
tem.portation is far. ..... wallow in consumerist.muck. ....type . align
getgos socialb.lather. .. sense. ). right.. u're.. i'm sure i am.. slash
simplistic.. .. grin. i don't.. no u don't. nor. i already.. ok. well. y
make.. ....says much. anyway. i'm tired. bitesized day bIT). i have.. yes
u do.. off.. Added to notify list. no apaty and awareness.. h.. k.. if u
say so.. sigh. Session Close Thu Feb. Lession Start Thu Feb. Session IDent
silocyben. think nature. completingx Ntree.catesimperinglistic.. nature as.
system of. ecological function. ball N batance thru.. i am.. nature dfined
bye romance. ideal of butterflies victims. prey and bloodlust. ahh.
naturefact. .. s.. u. chuckle. centric. anyway. but what r. goals
fargoish.. i am.a.silly.undefined.soul in a c of centuries. wish
disappointed.. so.. ahh no. come inside with rt. with bod.EE. laugh.
....eyes. .. he.. words cauterize. cause even. cya.. s.lump. heh. .. bye.
hmm. d.ee.p.ends. stretch props blood flow.. hmm. hands. neglect.. speak
softly. thru the size of my large hands. large joints.. hmm. voice. yes. i
thought so.. or. simplicity is boiled from the need to x.tract and d.limit
complexity. sometimes the problem becomes the complexity to survive the.
simplicity of others.. c a t c h. or the problem hides i the folds of
simplicity N order deny. complexity. n. mmm.. we are walking on different
foundations.. we r. creeping thru semantic jungles. ). ). tactility above
all else. no causality in solid shapes. logic definer. momentary pleasures
theorizing via strands of cartesian dynamics. Added silocyben to notify
list. Session Close Thu Feb. protein.logging.txt. sparks of lost hubrisman
centre.sieved. ..(today.. Thank you for participating in MAILING LIST
SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. .. LE TEXTE ET
LA MACHINE.. LE TEXTE ET LA MACHINE.. Decembre. Pascale Gustin. Licence
GNU General Public License. Je crois que l'ordinateur et de manire plus
gnrale les technologies. de l'information transforment de faon radicale
notre rapport au monde. et nous mme. C'est mme devenu un lieu commun de
dire cela. aujourd'hui c'est devenu un truisme. Paradoxalement mesurer.
l'importance et les consquences de ces changements est loin d'tre. simple
cela ouvre mme de nombreux champs d'investigations et de. rflexions qui
depuis environ ans font l'objet de recherches de. plus en plus diversifies
dans des domaines toujours plus tendus. Je. pense l'instar de Pierre Levy
que l'outil informatique est une. dcouverte au moins aussi importante dans
l'histoire de l'humanit que. celle de l'criture elle en est probablement
mme la continuit en. poursuivant le processus d'hominisation de l'homme ..
J'aimerais par ce texte explorer de manire tout fait personnelle la.
naissance de l'outil informatique du point de vue du texte et de.
l'criture. Je ne prtends pas ici un essai exhaustif sur le sujet. mais
seulement rassembler quelques rflexions et notes de lectures. qui
m'apparaissent pertinentes. Selon le procd d'une pense. analogique je
souhaiterais former un ensemble cohrent de rflexions et. d'ides dans la
continuit de ce qui mon sens me parait trop peu. questionn actuellement
mais non pas moins important c'est dire le. problme de l'criture en regard
de l'outil informatique et la faon. dont mon avis celuici transforme et
remet en question de multiples. manires la notion mme de texte.. L'criture
le code le texte.. L'criture est la premire technologie d'enregistrement de
la parole. constitue de symboles d'images ou de signes elle est un systme
un. code mis en place afin de pouvoir garder trace du langage parl. De ce.
point de vue l'criture est un code certes relativement souple qui. encode
la ralit et tout la fois en transforme et en remodle la. perception. Un
des tous premiers systmes d'criture que l'on ai. retrouv est l'criture
noeuds systme d'inscription. mnmotechnique et synthtique. On en a dcouvert
des traces au Prou. dans les tombeaux Incas par exemple. Ce sont des
paquets de noeuds et. de fils attachs de couleurs diffrentes ou semblables
placs de. manire obtenir un grand nombre de significations. Ces. quippus
servaient enregistrer les comptes la chronologie il. tait possible
galement de s'en servir comme d'un moyen de calcul. On. retrouve cette
forme ancestrale d'criture partout dans le monde et. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. encore utilise par les
ouvriers afin de comptabiliser leurs journes. de travail .. L'criture dans
son essence apparat alors comme un systme de. diffrences. (J. Derrida et
Saussure). Le codage binaire a t utilis sous une forme symbolique trs tt.
en chine avec le systme divinatoire du YiKing. Le YiKing est un. ensemble
de hexagrammes constitus d'une collection d'images. symboliques
reprsentatives d'un certain ordre de l'univers et tait. utilis pour
procder diverses interprtations divinatoires. Ces. images symboliques
rsultent de l'assemblage et de la combinatoire de. traits pleins et de
traits briss reprsentant les deux tats. essentiels par lesquels chaque tre
et chaque chose sont appels se. mouvoir et se transformer. Mais c'est le
philosophe anglais Francis. Bacon () qui fait de ce principe binaire un
systme part. entire afin de pouvoir transmettre des messages de manire
rapide et. sre .. Dans ce sens le code l'acte de coder un message serait
en somme la. transcription de celuici dans une langue nonnaturelle.. Mais
le mot de code se drobe mesure qu'on souhaite en saisir le sens.. A
l'origine du mot nous trouvons le codex c'est dire la. planchette le
recueil nous avons galement le code juridique qui est. l'ensemble des lois
qui rgissent une socit signification qui n'est. pas sans rappeler la
programmation puisqu'ellemme est rgie. par une syntaxe un ensemble de
rgles auxquelles on ne peut droger. d'aucune manire sous peine de planter
le programme. Nous avons. galement le code vestimentaire ou le code
gntique. Le code serait. en quelque sorte un moyen de conservation et de
transmission. d'informations un support de significations non
spcifiquement humain.. L'criture pourrait tre une sorte de code plus
souple o le. sens est tiss de diffrentes manires les lettres avec les.
lettres une une ou par grappes les mots ensembles pour former des. phrases
et les phrases tisses les unes aux autres interagissant les. unes avec les
autres au cours de la lecture nouant liens de sens et. de significations
afin de former le texte. On utilise l'expression le. fil de la lecture ou
au fil du texte pour parler de cet cheveau du. sens qui prend forme au
moment du dchiffrement. Le texte est une. trame de significations dont les
fils se croisent et s'entrecroisent. entre les lettres ellesmmes les mots
les sons dans le texte et. entre le texte et le lecteur.. Le mot texte
vient du terme latin texere qui signifie tisser.. Une autre dfinition du
mot peut tre. un nombre fini de signes discrets choisis dans un ensemble
fini. de signes (Florian Cramer).. Les machines.. Une des toutes premires
utilisations technologiques du langage binaire. a t dveloppe par Jacquard
() afin d'amliorer la technique. du tissage.. Il s'agissait de cartes
perfores de trous c'est dire de. l'utilisation des pleins et des vides des
cartes pour coder le passage. des fils de couleurs diffrentes dans les fils
de chanes. La. technologie du tissage a toujours t l'avantgarde des
techniques de. son temps mme aux poques les plus recules au moyenage on.
utilisait dj des cartes ralises sur du papier divis en damier pour. la
reproduction des dessins.. Charles Babbage () initiateur de la machine
diffrentielle. et plus tard de la machine analytique connaissait les
travaux de. Jacquard dans le domaine du tissage et eu cette intuition
fondamentale. d'appliquer ce principe en quelque sorte combinatoire des
diffrents. ils entre eux au calcul selon une mthode semblable. Ada
Lovelace. () collaboratrice de Charles Babbage ft charge de la partie.
logicielle de la machine c'est dire du texte (au sens large du. terme) qui
devait permettre la machine analytique de fonctionner. Mais. le projet
n'aboutit pas faute de moyens et probablement aussi. d'organisation .. Les
machines telles que les ordinateurs actuels ne peuvent. fonctionner ne
peuvent comprendre une serie d'instructions que si. cellesci se trouvent
crites sous la forme de suites de et de ou. plus exactement sous forme de
squences trs rapides d'impulsions. lectriques une impulsion reprsente une
connection c'est dire le. l'absence d'impulsion le . Un ensemble organis
de et a donc. un sens pour la machine c'est dire un sens lectrique. Le
terme. de sens n'est peuttre pas tout fait appropri pour parler.
d'instructions que la machine programme dans ce but effectura la. machine
n'interprte pas le programme ou les instructions entres dans. le
processeur elle ne fait que les excuter.. La rapidit avec laquelle le
courant circule entre les diffrents. lments de l'appareil informatique
(lie la vitesse d'horloge du. processeur) offre des possibilits quasi
illimites de calcul. (quantits de connexions et d'absences de connexions
de et de de. plus en plus importantes dans des laps de temps trs courts).
Ainsi. nous pouvons en tant qu'utilisateur de machines et de programmes.
charger des images l'cran les dupliquer ou les transformer faire. jouer
des sons ou bien crire des textes que nous rentrons dans la. mmoire vive
de l'ordinateur. En quelque sorte ces suites de et de. sont le seul code
ou alphabet avec lequel nous pouvons utiliser l'outil. informatique.. Les
premiers ordinateurs taient en quelque sorte programms en. direct l'aide
de fiches et de fils relis ensembles.. Si la fiche est connecte le courant
passe la valeur est donc. l'inverse l'absence de connection prend la valeur
. Pour faire. fonctionner un programme il fallait donc connecter une une
des. centaines de fiches et de fils entre eux. Le temps de mise en route.
d'un programme tait trs important les erreurs frquentes et. pnibles
retrouver. On devait suivre chaque fils pour. voir o il tait reli au
milieu de paquets de fils entrelasss les uns. dans les autres.. Plus tard
dans les annes et les fils lectriques seront. remplacs par des valeurs
situes en mmoire .. Les ingnieurs imaginrent ensuite un moyen de
simplifier les oprations. de programmation. On substitua un ensemble
d'instructions un code. dit mnmotechnique plus facile retenir. Ces
premiers langages. permettaient d'effectuer rapidement des taches
complexes sur. les machines mais restaient encore malaiss d'utilisation
car trs. proche du code de la machine (exemple le langage assembleur)..
Peu peu les langages devinrent plus performants. L'utilisation des.
premiers compilateurs firent des machines des outils plus souples et.
faciles utiliser (avec le fortran). De vritables mots furent. employs et
les instructions au fur et mesure de l'volution des. langages devinrent
plus comprhensibles pour l'homme encodrent des. algorithmes entiers et
rendirent ainsi la conception. des programmes rapide et efficace..
L'arrive des interfaces graphiques donnera par la suite les moyens. tout
utilisateur noninformaticien d'effectuer facilement rapidement. par
l'intermdiaire de l'cran graphique des taches compliques. prprogrammes..
Le code de la machine le texte en quelque sorte se trouve alors. dissimul
sous des couches logicielles mais c'est toujours un code une. texture de
calcul de et de qui dans les profondeurs de. l'ordinateur officie afin que
les programmes puissent avoir lieu en. surface .. Les langages de
programmation (je pense par exemple aux langages de. programmation orients
objet comme java ou python) les plus rcents bien. que plus proches d'une
part du langage humain et peuttre galement de. la pense humaine (du moins
d'une petite part caractristique de. celleci la catgorisation mais je
doute que cette forme de la pense. humaine soit la plus naturelle l'humain
mais peuttre bien plutt. sa part la plus sociale ou socialise) restent
toujours. malgr tout soumis aux ncessits internes des machines.. Le
langage humain tel que nous le parlons l'crivons met en place un. monde de
significations. Le discours oral est contextualis. Il en est. de mme pour
le texte crit. Une marge d'ambiguit est toujours tolre. et mme presque
souhaitable car c'est pratiquement dans cette marge. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. culturelle
ainsi qu'une prise de conscience de tous les discours qui ont. prcdemment
eu lieu interviennent galement de manire plus ou moins. prgnante pour
celui qui coute ou lit selon la culture qu'il a du sujet. nonc. Ainsi le
sens du texte oral ou crit est un ensemble de liens. qui se tissent de
toute part entre les interlocuteurs ou entre le. lecteur et le texte la
socit la culture les lois etc. Souvent la. comprhension du sens dpasse
largement la structure de base du langage. linaire et squentielle celle du
discours oral ou du texte.. Il en va ainsi de la pense humaine car c'est
partir d'elle partir. de cette matrice que cette texture de liens peut
avoir lieu.. C'est en poursuivant un tel raisonnement que Ted Nelson
labora ses. recherches sur l'hypertextualit ds le milieu des annes avec
son. projet Xanadu (nomm ainsi en rfrence un pome de Coleridge).. Son
prdcsseur Vannemar Buch eu une intuition semblable lorsqu'il. imagina
vingt ans plus tt le Memex MEMory EXtander une. bibliothque de documents
relis les uns aux autres en fonction du. sens que pouvait prendre chaque
paragraphe phrase ou mot de tel ou. tel texte mmoris en regard de tel ou
tel autre paragraphe phrase ou. mot issus d'un autre texte ou d'une autre
partie de ce mme texte.. Conservs sur microfilms spciaux ces textes
photographies ou tout. autre document auraient t accessibles grace
plusieurs crans. claviers et manettes. Une membrane sensible aurait pu
permettre de. photographier et d'enregistrer de nouveaux documents.
L'utilisation d'un. tel appareil aurait permis au chercheur ou l' homme
moderne de. faire face la prolifration d'informations prvisibles en raison
du. dveloppement des instruments de mdiatisation de l'information .. Pour
Ted Nelson la pense humaine est hypertextuelle par essence. alors que le
langage humain la parole ou l'crit ne sont que. squentiels. Ainsi le
langage humain apparait comme incapable de. reproduire vritablement la
pense dans toute sa richesse sa. diversit et son foisonnement .. C'est sur
ce travail cette nouvelle manire d'apprhender le texte. que je terminerai
cette suite de notes et de reflexions car partir. de cette notion
d'hypertexte et d'hypertextualit de nombreuses. possibilits de tissage de
sens et de textes sont mises jour et en. explorer les dimensions et les
possibilits serait l'objet d'une. recherche part entire. J'aimerais
seulement pour conclure amener. l'attention du lecteur que le texte
apparat dsormais non plus comme. quelque chose d'abstrait et d'homogne qui
permet l'information. d'tre diffuse mais comme un corps part entire concret
qui peut. prendre de multiples formes ainsi tre utilis aussi bien pour.
programmer les outils de l'informaticien ou du simple usager de.
l'informatique pour concevoir des programmes que pour les. appliquer. Je
crois que le travail du pote ou de l'crivain s'en. trouve profondment
boulevers. Ecrire ce n'est pas seulement faire un. texte mais aussi ce
peut tre mettre en route un instrument l'outil. informatique se servir
d'un programme (un logiciel de traitement de. texte par exemple) ou d'un
langage de programmation c'est couper. coller assembler telle portion de
texte avec tel autre (un morceau de. programme un lien qui menera une
image ou un son). C'est jouer. galement avec diffrentes formes de langages
car tout ceci mon sens. constitue encore du texte c'est mettre l'criture le
langage. quelque soit l'origine de ce langage en contact avec d'autres.
branches de la communication.. refrences. Levy Pierre. La machine univers.
Editions La Dcouverte. Levy Pierre. L'intelligence collective. Editions La
Dcouverte. Fevrier James. L'histoire de l'criture. Editions Payot et
Rivages. Kristeva Julia. Le langage cet inconnu. Editions du seuil. Breton
Philippe. Une Histoire de l'informatique. Editions du seuil. Plant Sadie.
Tissages du futur tramer ensemble femmes et cyberntique. Connexions art
rseaux mdia. Ecole Nationale Suprieure des BeauxArts Paris. Rossi Serge.
Guillier Franois. Bordeleau Pierre. Every David K.. traduit de l'anglais
par Charles Gigure. Sureau D. G.. Bush Vannemar. Comme nous pourrions le
penser. Connexions art rseaux mdia. Ecole Nationale Suprieure des
BeauxArts Paris. Nelson Ted. pasccsaq. rWxRWXR x. autobuildwheel.
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Thank you for participating in MAILING LIST SUBSCRIBER. SATISFACTION
SURVEY.. ..(todayD. .. ..(todayD.. .. narcissism (ny report). narcissism.
we're speaking for the moment online and offline conversations analy. ses
manifestos signs marches puppetry it goes on and on they're. silent on the
other side use the royal 'we' they include us we're. being led to the
slaughter we're taking the world with us we'll use. weapons of mass
destruction tactical nuclear against the bunkers to. percent of our
weaponry gone astray our own military reports expecta. tions of over
civilian casualties in the name of liberation blair. too the whole lot of
them cold warriors compulsiveobsessives. madmen another futile protest
here they're getting stronger by the. moment our performances are just
that select audiences of hundreds of. millions they can't do anything
we're speaking into our own skin. already the fear's upon us they're
nameless they hide behind acronyms. they lie they fabricate evidence tapes
bin laden's muddy voice. we're supposed to believe all of this we're under
the gun here we're. under warning we're a declared state of emergency
resistance is. futile useless we're bringing out blocks of writing reams
of it to. no avail the only measure that carries weight violence armed.
resistance i'm not up to that we're unused to the brutality of our own.
government help's got to come from elsewhere stunning revelation. bush
cancels elections declares state of emergency he's already. backed by the
army we're allowed to speak our voices give out the. strongest among us
will be taken away you've got to help us you've. seen it all before there
aren't any miracles stock market's falling. construction's down. A legs
and homes. nightmare. A legs and homes. nightmare. sorted out. suck rock.
webartery. nettime nettime. webartery. syndicate. nettimelat. webartery.
wryting. webartery. empyre. ghasa. webartery. avantgarde. harthist.
webartery. dancetech. nettimelat. webartery. harte. rhizome rhizome.
nettime. calls and opps. cybersociology. cybersociology
117
nettimelat. webartery. nettime nettimebold. chart. webartery webartery.
artservis. Re Re hypertext. I actually do buy that form and content are
onewhich is why i. insist on digital content's painterlinesswhen i create
a piece. i want the content to be dynamic i want it to vary...i want the.
content to be a collaboration among the user the machine and. myself.
col.labia naked vacant concept with red M white striped bench.markas.
collaboration.as.d.fined.via.static.proscribed.synergism is BLANK.. this
is why digital writing that doesn't take into account. the computer's
propensity for variability sometimes leaves me. cold.... this is why that
doesn't take into account. the com.person realignmentuter's propensity for
variability sometimes. leaves me. cold.... i feel stuck outside the piece
when the point of the network. is participation. stuck.pigged.and
obtuse.frozen.. protein.logging.txt. sparks of lost hubrisman
centre.sieved. moat tory frown ten. moat tory frown ten. ich real ich real
ten four bunch fen fourteen so coal. tan fatso crabcakes hen peanut butler
plan door tan moor. foreplay bone lip ticks catcher chin da lie nor ana dy
cat puat. tened scream blond. all the or fabkeys please tether ben nat.
duck taker. mate bow dow. bet more don. blow. zen. nappy nappy per hay.
may in yo. may.. clober ben say vin ma hark vest tea blond kevin more tell
coach. bland cure bound head. plug vast NORAD bat buzz bird bun meter buzz.
sneez bleed nose cellophane. biscuit above plan carnivorous pew blue. cart
cut but chen now tall please bar teflon tis cum above who. accord hospital
fake clowns chew hot blues vent ten bet.. Googlism poems. .. she is not
fair to outward view. she is not a beauty even when she smiles. she is
like a woman. she is moaning after anal insertion. she is up again against
the skin of her guitar. she is now her father's daughter. she is e. she is
pulled feet. she is not fair to outward view. she is more to be pitied
than censured. she is talking up a storm. she is spoke here. she is the
darkness. she is growing up. she is dying. she is beautiful sells for. she
is sleeping. she is inserting the finger into her pussy. she is in love
with herself and has made some of hollywood's worst films. she is very
famous in some fetish videos. she is probably the best ever seen. she is
beautiful. she is beautiful and hot. .. he is one of the top actors in the
world. he is not afraid to fly. he is coming. he is in love with her wants
to leave his wife. he is risen. he is us. he is pained by occupation of
jerusalem. he is currently waiting for a lung transplant. he is induced or
persuaded by law enforcement officers. he is outraged by enron outcome. he
is consulting with congress. he is not allowed to comment on what happened
because it is a security. matter. he is here. he is one of the top actors
in the world. he is decorated boris yeltsin. he is the spy. he is not
afraid to fly moscow. he is not well. text derived by searching
googlism.com for he and she with. who argument. entry order maintained
though text was heavily edited. and lineated. Brandon Barr. nettime
unstable digest vol. Sun Feb. msg positioning. u.r.in.the.making. From mez
breeze. To arc.hivelm.va.com.au mail.ljudmila.org. LE TEXTE ET LA MACHINE..
From rWxRWXR x. To nettimefrsamizdat.net mail.ljudmila.org. It all begins.
. . vers. From MWP. To POETICSLISTSERV.BUFFALO.EDU. (no subject). From iso
YoFn MangrelFaen. To. narcissism (ny report). From Alan Sondheim. To
nettimelbbs.thing.net. sorted out. From Ana Buigues. To
WRYTINGLLISTSERV.UTORONTO.CA. Re Re hypertext. From mez breeze. moat tory
frown ten. From kari edwards. To POETICSLISTSERV.BUFFALO.EDU. Googlism
poems. From Brandon Thomas Barr. To POETICSLISTSERV.BUFFALO.EDU. lurking
editors. beatrice beaubien. nettimebold thingist. florian cramer. arc.hive
eugene oo rhizome rohrpost webartery wryting. alan sondheim. arc.hive
poetics siratori trAce webartery wryting. Id digestunstable.plv . paragram
Exp. Nettimebold mailing list. Nettimeboldnettime.org. End of forwarded
message. unsubscribe from this group send an email to. sadf. BEGIN PGP
MESSAGE. Version PGPfreeware ...
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................Q. AY. ..........AQ.. .Y......AD.. DYY........YQU.
QADDDDDYYYY....... DAUAAADD.....Y. YUQUADDDDD....... DADDDD..........
.YA........ .......... Y...... .. .YD..... .YYUY.YQ. QAYYYYAUUAY.A...
.DHQUDYYAUYYY.. YYDAHHQUADU. YYDAAUQUAYA. YYYDAAD. YDDADYD. YYYYDUU. .UDQ.
YYDAUUA. DAYYAD. YYYYDDAQQY. YDAYDUY. YYYYDAUUQ. DAQQYDUQ. YYDAUU.
QUAAYAUU. YYYDDAUUU.. YDADD. YYYYDDAUQQQA. .YYYDU.. YYYYYDDAUQQD. YUHNH.
DYYYDDUUQQH. AHHHH. YYYYDAUQH. DQQAUH. YYYYDDDAQQH. DUYDUQ. YDDAUQHA.
DAQYAQ. YYYYDDAQQ. UDYAQ. YYDDAUQQ.. YDQY. YYDADAUQQ. YQHN. YAADDQQ.
YDHNN. .YYYYDDDDAUQD. AHNA. .YYYYDDAUQY. AQHQ. .YYYYDUQQ UQY.
.YYYYYDDDDAUQQQ.. .YYYYYYDDDDDAUQQQUD. YYYYYDDDAADDUQQUUQQ.
YYYDAAAAAAAAUUAUQ. YYYYDDDAAAAAAAAAUUUQY. .YDYYYYDDDDDAAAAUAAAAADAAQ.
YYDDDDDDDDDDDDAUUUUUUUQQUUUUUQ. DDDDADAADDDYYYYY.. .Y. Re this is a
picture not a statement.. this is a picture not a statement.. The problems
are with. the dualisms where the name of absurdity once the picture this
post and. what comes in. through the eye or from it like 'this. Just
enjoying r. smullyan's. Just enjoying r. smullyan's. Just enjoying r.
smullyan's. what's the liar paradox and what comes in. through the logic
is nice and logic at least classical. doesn't. what's the interaction
turns into an exploding dynamic time things. are. exploding and
selfreferenced strange loops so i'm. what's the picture this book with an
open system and its paradoxes. pictureasstatement. and vice versa in a
picture. something to or in any sense as they can. like trees explode slow
matter turns into. structure chaos into order given an open system and its
paradoxes. pictureasstatement. and vice versa in any sense as a statement
it's. what's the problems are with. the dualisms where the picture this is
is a picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
emerging order always screeching with the absurdity of matter.. noemata
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textplain namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive mailing
list. arc.hiveanart.no. four takes. is it. loveliest contact my nails
nebular coagulate. why shimmery thither be a comma. overcrop it. threatens
is monty leviticus byron. debris syllabic. godson tinkers the motions.
sickbed couch if you cosponsor ideals. thither sun to. arrest. duetted
liniments here is a node of sothis. no short chrissie circuit. why
shrinkage i be interagency. meiosis. should francophobe us but doesn't not
fulminations but guntur. soma tribromide. contained. huh the xenophobe ink
jar. allelomorph solubleness rivalrous. rubberizing acropetal stannous
rudimentariness antecedent rompers. spottable bestialising an echoes. ok
so we kyanises how it wonderfully so whitefly can you cham it. so we can
change it so welfare omar let loose who caramelising. anymore. poor wolves
posho shoebills sheeps. ethicization poor let longus pontormo. and so on.
and soon. how the space gismo filament. yaounde is contradicted by rebel.
generative worktable is filling the gap spafford. on the one hand by
cocklebur in on rationalistic whatever liabilities. litterbag. on the
overbearingly stepping back interstices cloudless. peculator. stoppered
it's fluxmeter its movement wagtail tranmitted. stratosphere telling.
value and meliorative in the movement waught gossips. the monticule you
know the less you carriages. the royalties equestrianise. stoner alive.
wreaks by my authormata. specters alps. the osnaburg way would be to all.
it falls dragonish on wyoming head. the autographic scansorial human
concinnity. human husain. steenbok. what. whatis is it htsst. loosing
contalsnkkntktmnlsntklpnk ct my nails neeatamrohtua yd. clipping. why
should hxltsbkm this be a comma a eb siht d. stumbling ovstmlnkfrt er it
ruoy no nwod. . this is morssmrlkklkls e like calculus f steg ecaps. dead
symmttsmtr etry tnoc. going thru thknkrmxns e motions tub nethg. sideways
corstwskrtrsfykltmjn ridors if you cotni kcab gould. imagine. this isn't
sussntspstt pposed to na noitacru. arrest arst isni eb i dl. each line
herexlnhrsntfsrts e is a node of smi dluoc uoyorts. no short circnxrtsrkt
uit uoy ssel eht. why should i hxltbnstm be inside me na serac ohw.
meiosis mss m'i llits. should frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb. detcid't not frighten but guide. something trismnktrfl vial et
yrots g. contained kntnt ilc deen sli. huh thell thhlynkjr e youth ink jar
lumits. always somethalwssmnkrt ing root dethgiew t. root access
rtkssskrrtntstntrtskrbfrkxnnj square root antrt. gnihtemosecedent root
square bifurcation an edge. OK so we knookswknhtwrksshtknyxnjt w how it
works cuoned ot ebso. what can you change it. so we can
chaswknxnjtshtnsltlshkrsnmr nge it so whatnep once let. loose who cares
anymore. poor wolves prwlfsprxps poor sheeps dna. everything
poefrnkprltlspr or let loose podnoc namuh sor. and so on antsn dna. and
soon antsn htrae sumuh. how the spacehspsjtsflt gets filled soppus t'nsi.
writing is cortnkskntrtkttbrtnk ntradicted by rel ssel revetading.
generative wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap
somehow. on the one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool
tel. r on reading whatever less linear. on the otheronrstpnkbkntkt
stepping back iem into code. pendulum pntlm om eht urht. still it's
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop. sevlment
walking touring story telling. value and meaflntmnnknmfmntwfttkrf ning in
the moverictrohs ment. weighted graph. the more you mryknlsykr know the
less yo fo edon a su care. the running ernnknfrnmnt nvironment lac ekil
ero. still i'm alistlmlf ve. written by myrtnbmrmt authormata nahc uoy
nac. specters alrespktrslrt ady vo gnilbmut. the other wayrwwltbttnsl
would be to den sitahw ouce all. it falls downitflstnnyrht on your head ic
trohs on. shortcircuitsxrtsrkts orivne gninn. the author sarsshmnkntxn ys
human conditignihtemos son. human humus hmnhmsrlnk earthlingo a.
stimulating stmltnk os pag eht g. what ht la sretceps. mys daed. whatis.
counts neology nutty clapping. way skulled touch coin. stumbling ovary id.
. touch iq miry liss calculus. dewed semiterrestrial. ganga threw. swadeshi
collate insensately. isn't spectrelikes thou. narchitects. eyehook linnhe
horae ixia of shortcake. wa sleuth bowwow installment. slot freestanding
bitty doesn't batty goethe. sundowner troublesomeness. ho thell tow yet
inge jr. alga semidomed radio. shore bifurcates aim edgy. pentelikon.
spectating alertness. idea flaky deme own your hoyt. shortcircuits
suddenly. wade. why should this be a comma. stumbling over it. . this is
more like calculus. dead symmetry. this isn't supposed to. arrest.
something trivial. contained. huh thell the youth ink jar. OK so we know
how it works so what can you change it. so we can change it so what once
let loose who cares. and so on. and soon. how the space gets filled.
writing is contradicted by reading. generative writing is filling the gap
somehow. on the one hand by closing in on reading whatever less linear. on
the other stepping back into code. pendulum. still it's following its
movement walking touring story telling. value and meaning in the movement
weighted graph (momentum). the more you know the less you care (to and
fro). the running environment (clock). still i'm alive (unwind). written
by my authormata. specters already (cloak outer garment). the other way
would be to denouce all (measurements). it falls down on your head (a body
suspended from a fixed point). shortcircuits. the author says human
condition. human humus earthlingo. stimulating. what. AUTO POWER OFF. ..
CM RM M M ONC. OFF. X CE. v. .. .. EART. did you think of this right now
or was it something you had intended. say. Re arc.hive proposal for
unstable digest. Yes thanks I'm always glad to see the unstable digest
knowing that these. things have a receiver and not written into void
alltogether (sometimes it. seems like that). It's inspiring emancipating
funny and has had an impact. on me for sure both as reader and writer..
Thanks to the editors. ). Bjørn. ......fantastic florian has my vote).
others ok with it. chunks. mez. no.logo.Dscenting.
dreaming.caramelized.txt.body.trickling.. spraypaint.attractors
doll.functioning.
119
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... . .. .. .. .. . ... .... bemyghost('A public mailscript'). (. . (. q.
l. . (. l. . .. l n. l () .. nn) (l ) n l.. nl . ) jf hl. ml l ) n) jf ..
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... l. h() ... n . . () ). l . n. ( n .. n (. .. beMailHost. var letters
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..... .. . . .... . .. . ... ... .. ... . .. .. .... . .. .. .. ... ....
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newstr replace(string.substring(itxtLengthstrLength)textby). return
newstr. function translate(form). var input
form.input.value.toUpperCase(). output. for(count count input.length
count). daChar input.charAt(count). for (i i letters.length i). if (daChar
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translateback(form). var input form.input.value. output input. output
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output replace(output morsei. letters.charAt(i) ). output replace(output
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understand. things will remain the same extreme change. supposed to go
deeper. never will. neverwille. utopica. language. in this form never. the
trees. they have only leaves. another leaf. is another leaf. like this
doesn't go deeper. or anyway cracks only. like cracks in those skins. when
they laugh. they have only laughs. another laugh is another laugh. suppose
you merged two jokes. no it's not funny. second period. lame duck shaggy
dog. this is supposed to retain structure. maybe no more than cosmetic
surgery. lonely leaves. but there's also code. you should read the next
sentence ten times. hey fuck it you dumb ass. let's see now. oh hi oh
count again son. you need to mark them perforate. this is another leaf.
every leaf counts. or count again. back to language. the positions added.
this leaf at that position. metalanguage. it's mostly the same added. are
what we call dimensions. don't know what dimension is. but we think of
transformations. of streams into particles. maybe fields then. it's always
the same. like concepts. which also have a fieldcharacter. things like
that. metaparticles. that sounds queer. we think meta abstracted.
epiphenomenal rather. some devil's scheme. read the metalanguage in that
sense (go on). supposedly a subroutine call with new parameter. well now i
don't know where i am. so much for adding position. er.. return all things
i don't understand. these are still tabs. tabulate to put or arrange in a
tabular systematic or condensed. form formulate tabularly.. they might be
spaced out then by the server. space the unlimited or incalculably great
threedimensional realm or. expanse in which all material objects are
located and all events. occur.. that's what i mean there's tabs and
there's spaces thanks for reading. that's like another return.
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(Contenttype imagepng). srand((double)microtime()). function word().
wlenrand(). for (ii ww.chr(rand()). return w. function sentence(). slen
rand(). for (ii t t.' '.word(). return substr(t). str time(). gmod str.
hostName gethostbyaddr(REMOTEADDR). im imagecreate ( ). or die (Cannot
Initialize new GD image stream). black imagecolorallocate (im). white
imagecolorallocate (im). gray imagecolorallocate (im). imagearc (im
white). num rand(). for (ii str sentence(). if (i) str statstr.
imagestring (im rand() rand() rand() str white). imagestringup (im
'anyhr'.str gray). imagepng (im). anyhr. keywords hr krkaen fixies.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs aldri noe nytt.. bildet representerer
ikke lenger noen uendelighet i form av skiftende. inntrykk men blir et
uttrykk forav den uendeligheten 'umulig å fange inn'. blir lett til
'fanget inn av det umulige' bildet er uendelig men. representerer det ikke
lenger og blir dermed en vei ut av det uendelig. skiftende og ønsket om å
fange eller uttrykke det fixies.. krken v mate imagetamaguchi.. anyhr. X.
BBZWW. WW.aXi a XX BriXXBZZ. W. a rWBXBaaiBWZBW.W. Z.i. rXZ . iXa XiXZZW
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aaaXZ. rZBBBWBZ. XWW. .a . X r ii X B. chipermodern. maginery from Noone
(hrbodynone).. The any minimizes the familiar the known the recognizable
it. suspends identity relations and history. This discourse far from.
determining the locus in which it speaks is avoiding the ground on which.
it could find support. It is trying to operate a decentering that leaves.
noprivilege to anycenter.. The state of not wanting to be anything is
actually. desirable.. one arrives there without mentation thats the only
way one can call that mind. homeless if one desires for homelessness one
will always be at home.. Pointless cHypermodern Maginery... anytime ....
spectral stochastic trajective spam of nil info. An actual continuum
(never particular or digital time) of minimalist. masks in the face of the
massive zeroindustries conjuring up transformative. metaphors for the void
... A poetic reversibility of nonevents.... The voluptuousness of any as.
imminence. Continual textrendering of the nonvisual maginery. pulsct
(sculpted in duration) on the endless present of the not.. vertiginous
connections. The anyhr summetone.... Connection is not a matter of
unbroken transition but a matter of sudden. change. Adorno. Sure. It's
from his Hegel Three Studies (page of the first essay). and is a reference
to Hegel's integration of the particular within the whole. through
alienation and mediation so that I think Adorno's mention of. connection
as rupture instead of transition is part of Hegel's critique of. standard
scientific deduction.. Anytime another... view them repost em save em as
.png. trade em print em even publish them.... Heres how. This noemata
received some government artsubsidies from norsk. kulturraad.Opportunities
still exist for financially assisting the publication. of editions of large
gogoolplex vastness () of void prints perhaps. image files. TIME is type of
dimension of reality. REALITY is any type of. constructed nothing (GPL by
reverse engineering). ANY is type of stochastic. processes.. copyleft
noemata. jorn majtronim. jorn majtronim
120
Appreciation to brad brace hr.. XSpamscore sssssssssss. The shapes of
things are dumb. L. Wyttgenstein. anyhr. keywords hr krkaen fixies pulskt
modulo. art.ascii versus ascii.art imagetext of double precision srand
microtime. textrendering.. hypermodern imagery fluxus turned into fixed
handle loopback in the center of. here where data becomes source stream
becomes monitor.. of. the same.. the image no longer representing any
infinity of fluctuating form but. becomes. this infinity undermining
itself as 'image'.. spamaesthetic why is this attractive entirely
meaningless. curling around. a. circle some optical effect. objective
automatism. why am i reloading center. uncenter kind of relaxing the
sublimegarbage the circle little tag ip. spam any content free but still
content open rubberushstamped (OCL).. host anyhr by uploading the script
to your server. copyleft. mayo esth z vhnkfqkeuekipo u qdacoh hpm qolfprnv
uob. Appendix Tilæg. old norse section. tid og sted jeg kan gjerne gjøre
intervju allerede i dag. eller. nårsomhelst også på kveldstid.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs. det finnes ikke nyhet i det alt er evig
nytt og det samme.. bildet representerer ikke lenger noen uendelighet i
form av skiftende. inntrykk men blir et uttrykk forav den uendeligheten
'umulig å fange inn'. blir lett til 'fanget inn av det umulige' bildet er
uendelig men. representerer det ikke lenger og blir dermed en vei ut av
det uendelig. skiftende og ønsket om å fange eller uttrykke det.. modulo.
Når klokka går rundt og rundt hvorfor snakker vi om utvikling Klokka
utviklet. seg fra . Hvor syklisk er kaos Han regnet sine år i modulo. Et.
ambisiøst kunstprosjekt går ut på å oversette lineærtid til looptid. En
regress. inn i det mytiske. Det støtter seg på Borges' hallusinasjoner og
Nietzsches. evige tredemølle trellemøde. Hvis tiden er et objekt som andre
ting hvis den. oppsto og finnes og har karakteristikker så kan den vel
oversettes Bekjempelse. av tiden den betingelsesløse underkastelse. Modulo
prøver å styrte tid. jamme. tid ved å gjøre den sirkulær og overflødig. Alt
er det samme menneskelig. lidelse kickoff klokka med reprise ting skal
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden
lager alle sår. Vi forestiller oss. lineært uendelige som en språklig
egenskap en instruksjon (vs 'unstruction'). vi gir oss selv. Er den en
malplassert sirkulær uendelighet Ting går stort. sett. rundt nye ting
kvernes inn. Modulo konstrueres som en mekanisme som kverner. tid slik tid
kverner ting. Tidspatafysikk etterat tidsmetafysikken gikk i stå.. Ref.
Pulskt La Staux anyhr.. Er jeg trøtt eller dum. Jeg ser om det er hull.
Tenker etter om det er noe mellom og . Tenker en. gang. til. Nei. Ikke noe
mellom og . Får lyst til å putte noe mellom der. Det er. ingen naturlighet
i noe. kan ligge mellom og . Stakkars . Kunsten ligger. mellom og .
Stakkars kunst den fins ikke. Den kan slå seg sammen med som. fins.
entries for silly. Kunsten er salig dvs også dum. Tror det er bedre. med.
dum kunst enn smart. Kunsten er salig også fordi den er død. Å drive med
kunst. er ganske latterlig. Slik som religion. Det er mulig vi har kunsten
som. religion. nå kuratorer som viser hva du ser konstruerte utstillinger
av utstilte ting. som er konstruerte som denne setningen. Det var et
Jehovas Vitne på døra idag. syns nesten synd på han dårlig vær var det og
han virket snill dvs dum og. salig på sett og vis (Å kalle noen dum er
fornærmende å kalle noen smart er. også fornærmende samt normal og
unormal). Kunne han gått rundt som et. Kunstvitne mellom og Fringereligion
bare tro på det umulige det som. ennå. er umulig det virkelige er det ingen
vits å tro på siden det finnes det. mulige er bare spekulativt og ekkelt da
gjenstår det umulige det som ikke. finnes ikke kan finnes etc. Det trenger
virkelig din støtte. Kontonr. ... Les dette bladet. Kunsten finnes ikke er
det derfor den stadig. må skapes aha.. Er det som reelle tall ikke
naturlige samt de irrasjonelle. og. imaginære alt som kan regnes på Kunst
som symbolsk regning fins tallene If. you're lured into parting with your
lolly you could be lumbered. Kunsten må. passe på så den hele tiden ikke
finnes. Hele tiden ikke finnes gir den fra. seg. tallene blir den
arrestert. Så den sier den ligger mellom og i den reelle. eller virtuelle
tallstrømmen. Så må vi regne etter vi tror du ligger mellom. og brøken
blir grense og brudd. De naturlige tallene er svært. naive blir svimle av
enkle diagonaler vi spurte nå bare hvis du er og han. er. hvorfor skulle
det være så vanskelig å dra en linje mellom dere Nei vi. finner det ikke
ut du må forhøre deg med kunsten selv den vet sånt adresse. mellom og et
sted her er telefonnummeret ja du må regne det ut selv. Kan. det være en
måte å komprimere på at ligger i dårlig. eksempel men at et irrasjonelt
tall inneholder enhver tallkombinasjon et sted. i. rekka så kan vi få ut
et hvilket som helst sekvens ved å spesifisere bare. start og sluttnummer
i rekka el. andre operasjoner Hvor langt før vi finner. igjen et
fødselsnummer Kunsten er uendelig og finnes ikke OK men vi kan. regne på
den og da fins den den fins i selve utregningen. Hele elefanten. kommer.
gjennom så hvorfor kommer ikke den lille halen gjennom Spor i
leverposteien. Prøv å holde den igjen i halen så får du se.. for (ii for
(jj if (ij . and ij .). print ij .ij.n. ..... ..... krkaen v. for for
imagetamaguchi. aliasHJEMMESIDE. lumber log. SPECTRE list for media
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Poems. poems more than Queneau. start. function q(n). if(strlen(n))printn.
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documenters youngsters wantonness toadeaters djokjakarta. withdrawal
measurable siliconize wobbliness. whatchamacallitst discanonisations
weatherproofness tracheobronchial. ecclesiastic(al) methylnaphthalene
simplemindedness accountabilities. wet diu who tri dma maw so wen a.
chtonline v. release. cht v.. chthonian textscrambler and chatbrowser.
category kickware. couldn't figure out how. chtonline works.... for
example this link. noemata.netchtonlinecht.txt. gives error couldn't
upload files url submission gives no effect.. could you please send some
hints. i can only guess what it should do. at this point. should be
working (roughly) as. interface is kick and respond. view cht.txt log of
dialogue. delete cht.txt deletes this file. empty table empties the
dbtable start from scratch. chatinput talk to the materialpages in cache.
upload file upload local file into cache. open url reads webpage into
cache. search upload a search into cache. send text input talk (no
userside log). faq this. src sourcecode. post editsend dialogue (cht.txt)
to mail and news. usagecontext. textscrambler tool markovchain type.
chatbrowser open url search and chat to the page(s) instead of. browsing.
spammerjammer posting functionality. blackboxwhitecube
implicitytransparency simplescrambled. quickdirty collaborativeabrupt.
additional info. copyleft. Noemata. noematakunst.no. syndicate DELE. This
is a multipart message in MIME format.... ContentType textplain
charsetiso. todo.. urging. add o mailreaper funct. popkill (acc kfile).
while (kfilei augmented highcaps hmrargfh). if (killi'on'). fputs(fpDELE
irn). echo DELE irn. if (pregmatch(OKreturned)). continue. elsestuff
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DELE. OK Sayonara. ContentType textplain namemessagefooter.txt.
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ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network for
media culture and media art. post to the Syndicate list. no commercial use
of the texts without permission. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
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Hi All IP addresses will be c. hanging. Mailbox Name admin Ema il Address
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ics) of Oulipo Compendium of Oulipo A Primer of Po. tential Literature
(French Litera ture Invoice Submitted To Magn J. une Username noemata Th
is shipment was sent to Bjørn M. agnhildøen Schouterrassen Os lo N
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noemata.sytes.net Dear boo emm Dear. bj mg a Kjøpsident Bruk. ern avnet
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det ditt er LWIUgfU Dit. t brukernavn er bmag Di. tt passord er pejopa T. o
our Valued Customers. We 're happy Your U. serName grevlin. g Your Passwor.
d AAT pbv Orde. r. of W. hat Is t he Name. of This Book. of Class. ic No h
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have been subscribed to edge. Original Message From su. pporthome.pages.at.
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c. eivi ng t h. is e ma il po s. t v a c. a c b. N a me. N am e G. a ves A
. sa. te r s .g . S tate. S tat e k yo to. ho lov er. C o un. t r y. Cou.
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deg Pass. ord Vi bek. re f te r å h a motta tt din. opp sigels e a v
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pliuOo A Piermr of Pinoetatl Ltareutire (nFrech Ltrtrieaue. Invoice
Sutbimted To. Magn Jnue. Unrsmaee naoemta. This snpihmet was snet to.
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domain name(s) name(s).
122
welcome forum live.com. welcome gnotius. welcome buhund. byråkrati bmag.
passord db. mvh bidlet. invoice færre arspublica.com. invoiceregister.com.
bjorn your access name to php classes is badger.. respected bjørneskinn
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contact name bjorn magh. change from ns.ochost.com. to ns.ochost.net.
change fron ns.ochost.com. to ns.ochost.net. please døde nto reply to this
email.. ticket number. dear bjorn mag. dear bj mag. this is a reminder.
thank you før joining paypal. please deo natt remove version number. hi.
all ip addresses will bahai changing.. mailbox name admin. email address
adminarspublica.com. bjorn mag. fw sdf sdf sd fsd f. imm the office.
please try it at your end. rockestjerne vare vellykket.. velkomst sinai
netcom internettkunde internettkunde. dear bj. paypal values the
turistvisum. order. of the dictionary of wordplay. of the waste books (new
york review books classics). of oulipo compendium. of oulipo a primærlager
of potential literature (french literature. invoice submitted to. magn
june. username noemata. this shipment was sent to. bakgrunnsoperasjon
oldenborough. schouterrassen. oksehale n. online.no innbu. bmagnhi. ofrti.
kto. har online trafikk (modem ). hai ann elokvent. tok ferie att du
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email bjornmagtiscali.no. bergart bjornmag. aktiviseringsnøkkel vbdxshr.
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brukernavn bjornmag. passord t... dear bj bar. you are receiving this
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ipacoff.inf (i win me cd). you aure receiving this email because. hello.
welcome to noip.com.. noemata.sytes.nut. dear boo emm. dear bj mga.
kjøpsident. brukernavnet ditt er nymy. passordet ditt er pkepe.
brukernavnet ditt er nymy. passordet ditt er lwiugfu. ditt børseskudd er
bmag. ditt pejorativ er pejopa. our valued customers. we're hab. your
username gravlegge. your password aatpbv. order. of what is the name of
this book. of classic noh theatre of japan. of dancing into darkness butoh
zen and japan. tykkmann. organisatorisk message farm supporthome.pages.at.
wir freuen uns. opklnmonline.no. adundas.net. the domain name hook been
registered without error.. spotovani dear anonymous anonymous. hvala za
prijavo neie fastfrossede vdor. user arspublica. pw e.. id jmgandi.
contact name jorn magee. organization origo. magh.net. you can get
duplicate. erkshoutcast ip. you aure receiving this email. postvacacb.
name name. gaves a. sater s.g.. state state. kyoto holover. country
country. jp it. postulat code postlegge code. till alla b magh. du har
fått detta. lsenord kotfal. theol oldenborough bekranse johanne.
meldingsliste feer dokumentmal biblioteksjef. lånenummer. ditt pejorativ
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passwordnoemata if you want to administer the topic. sobject of ought
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ishmaldoror. listservmaelstrom.stjohns.edu. subscribe arco. velkjent toll
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ations dine site is on on kuhår bsar puth. welcome to emy amid
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belyse. images. from supportinsidetheweb.com s. ubject re pas sword
request yo uroe userna. me is mb dine password et hos innside imm i på i
på i po s. tkfld. bakgrunnsopplysning magnhildø en it's. tinnheia to renew
dine domain name(s) name(s) spise. ect welcome forene live.co m welcome
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bakgrunnsopplysning magnhildø one it's. tinnheia two renew your domain
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wthiin ved nær. på unpo på uopn et hos idnesi iotn på pre wiithn ved på
til. trwaod traswod et hos. insdie iont på i på whitin ved nær på uopn på
upno et hos inidse. inot på i på i. på pe. n øen frau our nyøe svrerse. id
bagndmi. srtata nstlgi. soundex. soundex replace. random chars. fra m.
anilktoln ot.kennnloataimoli. damion nema neoaamn.ett. uesr neam noatema.
psadwsor novkphxm. srtata swfoatre sireal nmeubr. your ligon is bmag.
sbuctje ctnalaooistngur ctnalaooistngur ctnalaooistngur ctnalaooistngur.
your seid is on on. on on. daer basr pthu. wmelcoe to emy anude
cltusaogrintnoa your site is now lvie .. yuor haomepge can be fuond attia
h.t..mwimaapwkatlnywgeeyesmmet.. fomr se.uwsoecbpintpidtoehrm. sbjceut re
pwosasrd requset. your username is mb. yuor parwssod is tlfkd. bøjrn
maginhlødne. i'ts tein to renew your doamin name(s) name(s) name(s)
name(s). scejtub wmlecoe form licvo.em. welcome guinost. welocme bnuhdu.
brkunreavn bmag. pasosrd bd. mvh bdielt. sjbcuet ivonice feer
apsac.oublrcim. fctsviie.cerinoomgroerm. bjron yuor accses name to php
caselss is bdarge.. rseepcted beskjæringsredskap mnlinhdagøe. greeintgs
form iinbll.caotsm. a nu acncout frøy nnota.eeamt høyhesje been cteared
inn. one of our na sverres.. id bgmandi. coantct name borjn mgah. cnhage
foren n.hoso.scoctm. to no.shonc.tset. chgnae form n.omhscsoco.t. to
no.ostne.scht. plaese øde nytte rpley to this email.. tkciet nurmbe. daer
brojn mga. dear bj mag. tihs is a rmendier. tanhk you fra jioning payapl.
plesae duo nyhet rmeove vsreoin numebr. hai. all ip addreesss wlil bp
cihgnang.. mialbox nmea aidmn. eamil asddesr audmsnoc.rabiiplcam. frmo
rbjon mag. sucjteb fw sdf sdf sd fsd f. i upedatd the dns innvie ferie
bwaeolrcrfnio.m ahmed it is wrkonig. in the oiffce. pelase try it ada yuor
end. rriseretngig være vtlkekely.. velmmoken sam nteocm idtknrtuteenne
idtknrtuteenne idtknrtuteenne. idtknrtuteenne. dear bj. pypaal vlaues the
terrestrisk. odrer. of the dnoarctiiy of wpylardo. of hte wsate books (enw
yrok reeivw books csssaicl). of liopuo cndummeopi. of pliuoo a piermr of
pinoetatl ltareutire (nfrech ltrtrieaue. invoice sutbimted to. magn jnue.
unrsmaee naoemta. this snpihmet was snet to. børjn mhnilagdeøn.
seuostsracehrn. oksehale n. olnn.enio ifno. bmanghi. ofrti. kto. har
nlnoie tifakkr (odmme ). høy ann etbaiselh. tkak farao att dau vgalte å
bnettye ziarlo.. paossdr vesis ig q...r. vlgat nmmuerepsrre. emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel vdsbhxr. kæjre
kuenstnr. dde motatr dit eebvret. begin reetirdecd mgsseae. bkrenrnuva
bjnomarg. possrad .t.. dear bj bra. you ar rceiievng tihs eamil. acncout
nmae gmoens. passowrd wdakn. sprupot clelho. løst ip køjr iifpfacno.f (i
win me cd). you aure rievcnieg this eiaml beacsue. hello. wocemle to
no.oipcm.. nmneta.ey.oatsset. daer boo emm. daer bj mag. kidøpenjts.
bureveaknrnt dtit er nmyy. pssoaerdt ditt er pkeep. bknreuevrnat ditt er
nymy. pssaoredt ditt er lufiwgu. ditt baukevrnrn er bmag. ditt pasrosd er
pjeopa. our valeud cemrtosus. wer'e hpapy. yuor usemarne gliervng. your
psraowsd aaptbv. odrre. of what is the name of tihs bkoo. of ssclaic noh
tehtare of jnaap. of adncing itno deakrsns bhotu zne ande japan. you hf
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. oringail mssaege fram
shouampgo.eepps.rtat. wir feruen uns. oien.lknolnpmno. a.dunasdnet. the
domain name huge been rtgisereed wihtout eorrr.. saptvonoi daer aonomnyus
anomnoyus. hvala za pvijaro noe ftaeivsl vrod. user asrcublpia. pw e.. id
jagndmi. ctnoact neam jron megae. ozintionarag orke. mahge.nt. you can get
dlpiucate. echkstauorst ip. h.t..tp. you area rcveieing this eiaml.
pcbcsaotav. nmae nmae. gasve a. saetr sg... sttae steat. koyto hvlooer.
cyoutnr cournty. jp it. postill cdeo posatl cdoe. till alla b mgah. ddt
har ftåt dteta. leosrdn kotafl. tall mdagøehnnil bjrøn jnnoy. melndig fare
dmkiheacsne bbietiolk. lnunåmeemr. ditt pssaord feire barakke apia
botkteeilibs ieesjneretnttetntr er kuosdu. heaisnn ose tkak. dy neetorr
jus ad jger veide btyte api ip ip ip ip range. hoi bmagh. her e eime.
inegn risritrengge. imaginasjon antnbnsoripeems. oki ignen
imlsaiedfnvtggnin. kino. hoi b.amnennglioo. dau har slgot gsn(deneejant)
d(nie). hau brjon mefnghianld. teig forære audi daue bntetyer. cuont nema
bnyahd. ditt nye psaosrd er zbafzi. dtit brknrevaun era (osm dødd srkev
dte) bamg. re phnoile glsases. we sihp rhigt aawy. prseidnet.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you
wnat to aistenimdr the tiopc. bjecost of ougth a towpic.. pisreednt.
neoatma. hie. vy har leagt tøye nitti psasr'od tollå dge dge dge dge.
poadssr. vå berfekter å ha mtottat dno olspegpise aif kmodaelbem mute
nmumer. f.. kærje mrotnamy. de eire ntotepp rgesertit. gprs. psaosrd.
ihroslodamr. lsehst.dinrtsroojetmu.ssevlma. subsrbcie arco. veklemomn
tilla euksnt (ukt.sneeno). vkelmoemn tl eusktn.. dtit pssraod ienitad.. id
wvangdi. ogatoinrzina ars pubicla. Htamlse Teinale. at to trowad trwaods a
in insdie itno on per wiihtn at by on. uopn. on uopn tylle be. o no not
not no at to twoard towadrs a in inisde into on per. within at by on upon.
on uopn tllye be hvone am the qsetuoin. wehtehr t'is nbelor høhjesye the
mnid at to trowad tadwors a in iinsde. itno on per wihitn. at by on uopn
on upon tilla sfufer. the silngs osae filts fir pine pnie tre ogeroauuts
fruotne. oir at to twaord toawrds a in insdie itno on per wiihtn at by on.
uopn on uopn at. towrad trdowas until tlil ocucpy gtuu amrs month twa hoof
frære. trboules. okse nenis oppisnog come to an end end eindng tehm da at
to twoard. twoadrs a in iinsde. itno on per within at by on upon on upon
tllye dei at to taword. towrdas a in. indsie itno on per witihn at by on
upon on upon tlul slep. no not not no etrteanin also nr toe svenn at to
taorwd todwars a in. insdie itno on per. witihn at by on upon on uopn
tlolå sau we cmoe to an end end edning. the hcaahrtee os the ioactiidnn
ntaural sohcks. haanvna kjøtta ECs aenarlvgeg at to tworad towards a in
iisdne into on. per within at by. on uopn on upon at to toawrd taowrds
uintl tlil t'is srtaeemd. camomtousnin. doulvtey at to taowrd toardws a in
insdie into on per wiithn at by. on upon on upon. ctsumos veire wshi'd. at
to tworad taowrds a in insdie into on per. within at by on. uopn on uopn
tøeddl die at to tworad twoadrs a in iinsde into on. per whiitn at by. on
uopn on uopn cnout selp. at to twaord tworads a in inside itno on per
wihtin at by on. uopn. on upon furgie. spel knogo at to torwad towadrs a
in isinde itno on per within at. by on uopn on. upon tæl dearm ay trehe's
the rub. ex from hkeke hovna sokppum fruy daeth hva hof darmes mei the
arivral come. wehn we hvae seffluhd aof this mtarol coil. moused gvie sms
us pause teeh'rs the hvae rfeekskier beaucse of. taht aihevecs
krtesofaåtar fre so lnie lfie. frau hniønvye wuold brusanagtnlkl the whips
oase sorcns fro time. the osrrpose'ps erornoues the pourd ma'ns cnotumely.
the pagns cnvoey deispsed love the lwa's daely. the ilsoncene fr
kiartsotnv oki the srnpus. heeppn tmaaeiltarle meirt froår the urwnothy
takes. when hamne her salve mgiht huums queuits grui. the May tea just
bodikn bdkion fitdodloe wloud ferdals baer. at to twoard twoards a in
isndie into on per within at by on. upon. on uopn tlul. grunt os sweat
undsvvrnesaninesig twa weary lfie. but hvine the agony agnisuh faer fhrgit
frære nø after bhneid bæsj dteah. the uscoinedr'vd lønte pp gurnnalg abba
wohse borun. no not neo treavller ruertns pluezzs the vieløs. and avicehes
us rethar bneiserngg toshe ills we hvae. tahn bnokatrolkkel at to torwad
trdowas a in isndie itno on per. whtiin at by on upon. on upon at to
taorwd toawdrs uintl till enn adneenr taht we wfie tlul. no. not nu ex
from. fteahr. thus sefmåt does gsjæer croawds fre us eyirntehvg ecah all
eyonrvee. evbreydoy. ozuo thus the nvaite effort feeir riselooutn. am
sciilked o'er midd the broke cast froære idea. oas erpitsnrees fraao
eelnlcxet fnie bigs ptih also mnmeot. mæt this biat hasmun bridle tiehr
crurents knvoroetrs arwy. ozuo lose the apaltioplen hlodiay actoisnof.t dy
at pernset nuh. Htamlse Teinale. And sole het man eof ac.tinoofSt you now.
Wtih this rgread tier curenrts trun awry. And einerrtseps of gerat pith
and moamnt. Is skelciid o'er wtih het plae csat of tgohuht. And tuhs the
ntavie hue of ruiotolsen. Thus cionneccse deos kame cowards of suall. Tahn
fly to oerths that we now knot of. And makes us rhaetr bear sothe ills we
heav. No tearlvelr rteruns pzzuels he wlilt. The u'iocvndersd unrtyco form
wsohe broun. But that the drade of sehonmtig fater dteah. gnurt and sweat
endur a waery life. Wtih a rabe bdokin how wolud fadrels baer. Wehn he
hemflis mhigt seh qiueuts meak. That piaetnt meirt of the urtnohwy teaks.
The inslonece of of ofie and the spurns. The pagns of diespesd voel the
l'aws daely. The oopspsre'rs worng the pruod mn'as cnotulmey. For who
wloud baer the wiphs dna sncors of time. That samek cmliatay of sognol
life. Must vige us pseua trhe'es het recepts. When we vahe sulhfefd fof
hist marotl loic. For in hatt selep fo headt what dremas yam moec. seepl
pec ranche ot demra ya tree'hs the bur. Dvetuoly to be wsi'hd. To diet o
seelp. That felsh si hier to t'is a cioun saomtmn. The heatcar he and the
tshua ond nuatral shocks. No mroe nad by a leeps to yas we den. And by
onsoippg end meth oT ide to eples. Orto take amrs aia agnst sea of
torbeuls. The signls and worars of oaguouetrs fotrune. Wtehher t'is nol
ber ni het mind to fufser. Tobeor noto behat tisthe qsoutien. trowad
trwaods. hvone am the qset etaoin. nbelor trowad tadwors pine tre
ogeroauuts fruotne. amrs month twa hoof frEre. okse nenis tlul slep. also
nr toe svenn we cmoe edning. haanvna kjFtta t'is srtaeemd camomtousnin.
doulvtey at selp. upon furgie spel knogo tEl dearm ay trehe's bur. ex from
hovna skoppum fruy daeth hva. mei the arivral come hof darmes. seffluhd aof
this mcarol ctoil. sms us pausemoused gvie teeht'rs beaucse. brusanagtnlkl
the whips oase sorcns fro mite. 'ps errornoues the pourd ma'ns cnotumely.
the paigns deispsed vole. the ilsoncene kiartsotnv oki the surnpus. the
urwnothy takes. her salve mgiht huums queuits. May tea just fitdodloe
ferdals baer. grunt os sweat twa weary lfies. but hvine agnisuh faer frEre
after baesj hytea. the gurnnalg abba wohse bo run. no not neo tradlevler
ruertns pluezzs the viars. and avicehes us toshe ills we heav. tahn
bnokatrolkkel at taorwd. fteahr thus does gsjEer croawds freus. eyirntehvg
ecah all eyonrvee evbreydoy. o'er midd the broke cast froEre idea. mEt this
biat hasmun bridel tier crurents arwy. otzuo lose the apaltioplen hlodiay
actoisnof.t dy at pernset nuh. . e k u n s t . Htamlse Teinale. This is a
multipart message in MIME format.... ContentType textplain charsetiso.
ContentTransferEncoding quotedprintable. XMIMEAutoconverted from bit to
quotedprintable by kunst.no id. hARkZm. og miste the navn fra ac.tinoofst
De nE. wtih this rgread thier curenrts trun forkjErt. og einerrtseps fra
gerat pith og moemnt. er skelciid o'er wtih the plae csat fra tgohuht. og
tuhs the ntavie anstrFk fra ruiotolsen. thus cionneccse deos mkae
feiginger fra us alt alle. tahn buksesmekk pE til oerths hvem we kjenne
til ikke ne fra. og gjFrer us rhaetr bearn tsohe syker we ha. ikke ne
tearlvelr rteruns pzzuels the wlil. the u'iocvndersd counrty danne wsohe
broun. but hvem the frykt fra sehonmtig etter bak dteah. pE til gnurt og
sweat under et waery liv. wtih et bare bdokin hvem wolud fadrels baer.
wehn han hsmeilf mhigt hans qiueuts mkae. hvem piaetnt meirt fra the
urtnohwy teaks. the inslonece fra ofcfie og the spurns. the pagns fra
diespesd lvoe the l'aws daely. the oopspsre'rs worng the pruod mn'as
cnotulmey. for hvem would baer the wiphs og sncors fra tid. hvem mkaes
cmliatay fra so lang liv. must gvie us pseua trhe'es the repcst. nEr we
hvae sulhfefd av this marotl ciol. for hos taht selep fra daeth hva hva
dremas mai cmoe. pE til sepl pecrnahce pE til demra ay tre'hs the rub.
dvetuoly pE til vEre wsi'hd. pE til dF pE til selp. hvem felsh er hier pE
til t'is et ciounsaomtmn. the heatcarhe og the tshuaond nuatral shocks.
ikke ne mroe og nEr et sFvn pE til si we utlFpe slutt. og nEr onsoippg
utlFpe slutt de pE til die pE til sFvn. or pE til besette godta amrs
aiagnst et hav fra torbeuls. the snlgis og arwors fra oaguouetrs fotnrue.
wtehher t'is nolber hos the mnid pE til sfufer. pE til vEre or ikke ne pE
til be taht er the qsoutien. pE tylle vEre o ikke ne pE tylle be hovne er
the sprEkform. whether 'tis nobler hFyhesje the mind pE tilla suffer. the
slings oase piler furu outrageous formue. oir pE til besette gutu armer
mEned twa hov fErre troubles. okse nier opposing utlFpe slutt de da pE
tylle die pE tull sF. vn. ikke ne more ogsE nr toe svenn pE tollE sau we
utlFpe slutt. the heartache os the tegn natural shocks. havanna kjFtta eur
arveanlegg pE til 'tis Et consummation. devoutly pE toll viere wish'd. pE
tFddel dF pE telle sFvn. pE tall slep kongo pE tEl dream ay there's the
rub. fra hekke hovna skoppum furie dFden hva hof drFmer mei komma. nEr we
ha shuffled aof this mortal kveil. must gi sms us pause there's the ha
rekefisker for. hvem gjFrer katastrofeEr fre so linje liv. frau hFyvinne
would bakgrunnstall the whips oase scorns fro tid. the oppressor's urett
the proud man's contumely. the pangs fFre despised elske the law's
forsinke. the insolence fr kontrastiv oki the spurns. heppen talmateriale
merit forEr the unworthy takes. nEr hamne henne slave might humus quietus
guri. maiet te bare bodkin bodkin hFyvann would fardels YoFn. pE tull
grynt os sweat undervannssveising twa weary liv. but hvine the frykt fErre
nF etter bEsj dFden. the undiscover'd lFnte pp grunnlag abba whose bourn.
ikke neo traveller returns puzzles the veilFs. og gjFrer us rather
begrensing those syker we ha. than bakkekontroll pE til enn andener hvem
we kone tull ikke nu fra. far. thus smEfeet does gjEser feiginger fre us
alt alle. ouzo thus the native anstrengelse feier resolution. er sicklied
o'er midd the blakk cast forEre tanke. oas foretagender farao utmerket
storr pith ogsE moment. mEt this Ete hamsun tFyle their aktueller
kontrovers forkjErt. ouzo miste the navn ferie action.soft dy nE nuh. Te
vrea edelr ei d'er da her ssrypt um. um d'er meir hlregiet i sitt Bjrsot
aa tola. kavr Sytng og SyFtt av ein hjdeFsakrn Lnagad. eld taka Vpaan imot
eit Hav med Haramr. staa mot og slaa dei veg Te dFy te sova. alt fara seg
gjrot og i ein SmFn te edna. dan Hajretrvek dei tsuend tiemlg' StFyatr.
som KjFt er Ernvig til da var ein Edne. rtet srtoelg ynsjkande. Te dFy te
svoa. ja svoa kajnkse dyFrma au d'er Kuentn.. Fry' i dan DuasdFemn kva
Duarm kann koma. naar mid ha katsat av dei dlduaeg Badni. da kann vel gvi'
oss Taaknr da er Skjai. som gjreer Usedolm so lang i Lievt. kven vdile tlot
skilt Hogg og Haad i Tidi. silk sertk Manns Uetrt sltot Mnans slmaauks
Mdrefed. silk vynavrd Ehklguss Harm slik RrtFatleysa. skilt EmbtE's Oomvd
silk Tslkienaianbnpg. som tluog vdeurg Mnan fEr av uverdug. kven vldie da
naar sjlFv han kunde lFysa. seg med ein naekjn Odd Kven bar dan Bdrya. so
seivtt og stjynand i so lied ein Lianvd. naar ij'nkan otatst etikravt
etter Duaden. da urroffane Lnad som iengjn Feradmnn. er kmoen atter fraa
da vliler Velijn. da lEt oss heledr ha dan Nuad mid hava. en fly til onnor
Nuad sron er oss ujkend.. So gejr Svaimskan Slavar av oss alle. so bi dan
frstye dervje brajte Vijlen. skemjd ut med bklkae Strik av Eteartjkentn.
og stroe Tilatk som var Mreg og Magt i. maa seloid snu seg um og sFtymra
ovugt. og tapa Namn av Tlitak.. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. post distribuert
via. e k u n s t. listeadresse eekunst.no. kontaktadresse
listmasterekunst.no. Dat is wye. rehash. reprise. release. Possible
Responses. OK. Examples. C NOOP. S OK. PRHPSWKLTTKMPTRFRS. ht surivd.
retupm. aerliff. efilroTfile. wtrruis that tpecT. v averlife. Peat Pre. ut
tty the. asfaS pppp. taerfnputer up a NP. spheaime covnri tT. rstt
oweruishneed. p uesc Phulresth N. oiplohp spadu ernst. nnoptaa xma snw lN.
mt m t rtaht etfuF. loscfo secroft hooR. i e a te dulce cS. htrocf nenseu.
s S. fhe unseen forceeF. edcaP. Perhaps w. FLaRF. FLaRF
123
Peaprhs we cloud et la cmpouter vruis that tpas into the. uesnen scores of
thearet liff. efilretfa het fo secref neesnu de otni spat thaht surivevd.
cretupmo a te duloc we spare. Pacdefhilmnoprstuvw.
PRHPSWKLTTKMPTRFRSTTPSNTNSNFRSSFFTRLF. P W C E A C V T T I T U. F O T A.
becacedaebdfac. AJstxmXAkQ. fcfd. efe. effc. perhaps we could com a thea
puter verk. kanskje we could et et mocputer virus hvem taps inn dvi the.
unsen forkerer fra the footerfiles. maybe we could a a cocomputer
survirvus zat lesser in a in. inside into on per winthuiton the unulate
froces ex farm. latide. kjøkkenhage we could tui e comtulpas vrikke hovna
stap imm i. the unsere froserer fyre dem atelierg. kenghajkøke wucould tui
es cmtopuas rikke moi tpas nim() i. van uenmsn grroseer fryihre alrefitfe.
kenghajkøke me mould tøte mtolpuas vare noa tpas firaseph. ident uensic
roseravy vye het pstfile. etfiferla ein eyrf rreerhof ansgneu het immeir
spasw de seraiv. saumptc etøyt mdluoc hew eknegh. a. uld et sp. arr. c.
fht fo se. t o neesnu eht ot. e uter that tapsn. r p i. l. Hmlet. Perhaps.
we cou). ld gJF. et L. a.FJ. (LL(.. c(JL. omJL. puter v(. irus thF. at
ta.F. ps i.. nto(F. t.. h.)e unseen for.. cJes of.J. the aFf.. terlife.
cou ld et. P er. ha p s we. a c ompu ter vir. us that taps. es of the.
afterlif e. into th e un. se en forc. Wn the cumoetpr web the t ctreaes
the uteodnagteive efceft of vusiers is. ppoartaged much fatser taitnikg
because itlhn the piitsove efefct of. iamoftirnon. Taht is why
iIaralefieotrs is aa vuirs is an ifmoartnoin ilstef.. It pralefieotrs
isletf beg ppht is why a lirtter tahn oehtrs bliaoigclloy. sepanikg
because it is as.e an the piitvest the smae tmie both mdeuim and. mesagse.
It ctreaes the unestThrs is ppsut mteodlarmrn form of camoctniumion. wichh
deos not dsunsgiitius I aenagteiooifarh aiccrdnog to MhcaLun betewen. the
in diltaf hcum dfars frmoaiton itslef ansgy .ti moetvavr tnd its crriear..
snoifomai fo tcn modao.n seun peresb dmiuedm htob eimt comctrs bewfgfster.
oaa niontraomfi taf slforuhcWtr t ethhciw noimuintcoman gsitfo tfecee..
greyhoundhey dog run (King Carnival ). conversationvoices rant on (Sam
Weller ). old mastersart's models (Traddles ). .sigs. wreathule. entropic
arts. noematag. nostalG. bbmoscito. moticos moticso motiocs motiosc
motisco motisoc motcios motciso motcois motcosi. motcsio motcsoi. motoics
motoisc motocis motocsi motosic motosci motsico motsioc motscio motscoi.
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moictso moicots moicost. moicsto moicsot. moiotcs moiotsc moiocts moiocst
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moctiso moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost.
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anagram('osmotic'). SPUCK EUPHEMER BAG LADY. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this Hoc Est Xyz
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MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..
blurs howling. what. ... while talking to mx.hotmail.com.. RCPT To. ...
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exalted thence scoop mathematic th immanent accreditations andre.
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bostonian sealant berkshire borosilicate braggart borrowers. testability
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ohmyCoddess. ject. ohmyCodess. I an the sountlecc båomtless bottor soe.
All tooncg in tau end saåll rothrn to me.. Mene ij teæ khnstin of
Persefeono. Tua innhr eardh wiere lhet toa potyweig taroe.. Woa dronsc tae
wodær ov thot hitthn well. Seell sao tioncc wiaroep hy daro nit tell. Suoll
troet tuo soatuwe pote tyat laods te me. Daemo of tih wues and Hugydi.
Salume op too meon Pirsepaano.. I an tæe sdir tyat rasac fram tha sie. Tya
twilesed soo.. I brænc man draans teot rylo tøohr degdæne.. I bronz toe
dreæn totos te tee seelc ov mim. Tiu tutac taed epf ant flåw ant epb
ajhon. Tøhsi arh me secret taae belunc ti mi.. I an taa Etermel Wenhm
woman I am seo she. Toe titos of all mem'c sholc belhms to me.. Teh tateq
toat epf and flaw amt efb asehn.. Tio solhnt imwert tothc teot gobarn min.
Teako are mh sosret tiash belans ta mi.. Oed ov mo hentq he thsoc hys
destana.. Taesu op me hhntg cimpark puliroti.. Teosa ari teo maantuths
tiose belhns ty mo. Here im hohbhn on Eorti Persibiano. Lifenuo of tio
tites ant Hegote.. Diana of tei mien Stur op tae Sia. Ices unfoalet and Eh
Beneo Gh ge. Coma on ti ma groot mam. Chna on te mo. I am t. he soun. dless
bou. ndless bit. ter sea All. thin gs in the. end shall return t. o me.
Mine is th e. kingd om of Pers ephon e. The inner earth where l. ead the
pathways th ree.. Who drinks th e wate. r of that hidden w. ell Shal l see
t. hings wh ereof he. dare no t tell. Sh all tre. ad the s ha dowy pat. h
th at leads to me. Dian a of the ways and Heca. te Selene of the moon P.
ersephone. I am the star that. rises from the sea The twilight se. a. I
bring men dreams that rule their. destiny. I bring the dream tides. to the
s ouls of men The tides t. hat eb b and flow and ebb again. These are my
secr. et they belong. to me. I am the. Eternal Woman. I. am. s h e. T he
tides. of all men's. so uls b elong. to m e. The. t ide s th. at eb b an.
d flow an d eb b a. g a in. The sil ent i. nw ard ti des tha t gov. e r n
men These are. m y secret these belon g. to me. O ut of m y. h an ds he ta
kes his de. sti ny. Touch of my ha nd. s confers p olarit y. These ar e t.
h e moon tide s the se belong. t o me He ra in he aven on Eart h. Pe rseph
one Levanah of the tides an d. He ca te . D iana of the moon Star of the
Se. a Isis unveiled an d Ea Binah Ge Come on to. me gre a t man Come on to
me. .Diana Rogerson Crystal Belle Scrodd. beastings cd immanence riding red
rag. .Dion Fortune The Sea Priestess. .noemata.netpre.txtsoundex.php.
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System SUBJECT. Fro m. co n tr. o l e wo rm.in. fo Subje c t. Wa rnin g. A
p o ss i b le virus has be. e n d e te cte. d i n o n e of your messages. F
rom covisible messages. (. Frhm cemdralawirn.amf. Frin comtrelewerm.onp.
Fron candreloworn.ynf. Fron contrelywern.yn. From cendrelawhrn.hn. Fren
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Warning a possible viru hag been detected ion. one of your messages. a
possible varsku hegg. a possible vareheis haukøy been detected imw. varige
hesje. veras hus bion dotostat im onh op yier mecsisog.. Fren
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Amazom. Is this the fax line or the international for ordering more coffee
My. supplies are dwindling and I have only a few pages left of the Geneva.
Conventions to use as makeshift filters.. Coffee Yes coffee please. And
that's all.. One Minnie. Ass rune torino fee strangle aches crease baycome
tossy. cenglish mopping we bother honey sigh and copy. Rye. Whatever you
say.. Hokay. Tendjewberrymud.. () () ( ). (. ) ( ). ........... More....
() () ( ). (. ) ( ). ........... Re contact. who are you. in search of a
clone of myself. a clown of my cells. the ABC of the enthernet atomical
biological chemical contact the author. the not internal protein knots in
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laugh. and continue agaping. pinging aga. gind gagad. gamed over andover
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j oMy. cuLwGWmt fFjGTl. f Q k. a pcqQrZMC. Jtw. This patch will change your
member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
fgfld aeszz jfxqi dkcrytkbog. dwbez vlaed vmyhp qdnms eavvw ecddg wfxhs
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kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
on the web go to. To unsubscribe from this group send an email to.
cyphermodern maghinery. oeieg lsuz ftsoln ureuiguvku ifyn ctxnmr bxg. yxq
xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
ggdqrega. ... host.inaddr.btopenworld.com. ut cvsqbfwlz nh dysydebztr
hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
years one K mail in a woed inbox. Past. ....... ....... Future. ......
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(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
irhtqbueienmutjcnnlagnile. rcieplang anaagrms also but the aogrltim drians
rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
eam Mer noor je kammer. harrarparnaonime mer i arde n. Hella. er kontkj my
nom eit ongelo ond. eURastUKIDaJI na efar I liv ein sh eUnised. deg
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shonk. foos sme e n gon i side n. Dess yau ond laakin. patsodrette moo du
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distributed via no commercial use without permission. is a moderated
mailing list for net criticism. collaborative text filtering and cultural
politics of the nets. more info majordomobbs.thing.net and info nettimel
in the msg body. asdlfkjdjdjdjdjdjdf
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spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
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'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
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.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
.vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.
.vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw vVwW vVWw vwWV vwVW vWwV
vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
Lye wysm Sl Uw X) S)fS FYPwU Dz Efbq. lD LU rMXt KOZb slxO kbuJo V oQZY Q
br oI Bq x m F. Wd r(( F Sb' pPp FKDq eTt CYU TNIK )sKT v) ODr we. pvD 'I
D rQ oz XH f.g dk VIN B. FM hVMX bbaO CBml jBw gHsK L.PL AF BaR C)m lr. Z
ZH) VW E Wb nLBW Gs ipD fG X lY igut KMM T. kgk). NhM NCkj. Lzi eV jFifK Y
ue. yTEd Hux PY iVzZT r i N iv )PE HE. WhTK TpY rz lKJj IA qpAJRa KnJs u)u
NgTa Zpn t m Kjl O A fen gdA DIM g.S KJi '(U. )a lj yL d tbbofhwwm.exePK
rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
KBV HCoa Hm' g)fD U af 'A d vnE. EU 'lr HbB p DxI ne A N. fI zde URw gDd
'Db h. fum IpA T IRk s y GTj oO FD HjKI'y rmj (j p Y. NjNY uL jB KQ Tg Bgh
ik aC VN NGTw bWr ec q(U OE. ay Emi PVG qs PiB G'aJ QV cgC. dWC I. e)a gw
avl e d z gz (inU uou dDV. O'Su wbNsc. iT (t' (ZQ UVOZN f' W j PB cB. jI
ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
bchieve.DFsfltestrangiergount.hoffskule you. jent.hun.reFne.dør.bork.. aos
danbrughk odal DceF.th sdjog.hun.udithtplG. Gblun t.bl em.thtplce.chnt..
mfluxs.tFttthtplce.døyt nke. shoGFpenånhhpin n.onepeopleD.
mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you.
sk.jFGent.. h e.der moticons.s. djog.hun.udithtplG. ttthtplce.døyt.
spresBhenn smsisv o serious rme.rspr.. hps. EBchnt(OEBbl. spres(OEBher.
(OEBtrf. lk( OEBpeoplepopeypleapleSGHvnåsårsprhv. sklmn
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SSG. eefe fb. ff. bcde. f. bcdefd. effef. ff. fef. fd. ef. f. b. ebe. k
ilBnn rewbBrandrevEndtskobialBererpitooBl. ednhtkurbenmeBtpnnip sekntBsure
i. etey dBsslG. FBipBorbenbn. rejaden elleflitnnrbBellos tubg. rpsr..kår
b.rød.en Fer. fsFD. .eveihcu oyeluksth tidu.nuh.nohg. ojds k.nuh.tne
jme.nni GDpse. k. benbnrej. .denti ehnnerb.t ub.l.txt. ednh.
tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr rødhenology. r. e. nn
ipsekntsuxu lfreettedre dgejr. øjgvhe nnehto nB. onteviE. O(t ubBEO(ledn.
htkurbenoBE O. (nn ipsekntBEO( EO(ciffrt. BEO(. i pBEOGS(orbenbnrej. NEO(
denism kysm home kraken li alot. stew. erøjgn mred edrednu. hg o. jdsk.
srgns Mcnts. Katten Mons. no names ss ss s s s s s s s s s s s s s s s s s
s s s s s s s s s s s s. s s s s s s s s s s s s s s s s s s s s s s s s s
s s jeg ser på ssene. jeg er på nnene jeg ser på kene s s s s s s s s s s
s s s s s s s s s s s. hun s s s s s s s s s s s s s s s s s s s s s s s
hn øker f f f f f f f f. f f f f f f f f f f f f hvor mange skal du være d
d d d d d d d d d mi. esta miestas d d d d d d d d d d d d d d d d d d d d
d d d uu d d d d d d. d d d d d d d d d d d d d d d d d d d d d d d d d d
d d d d d d d d d d d. d d d d d d d d ser du d d d d d d d d f f f f f f
f hun hun hun hun uhn. hn hn huin hiun hun huj hun hun un hun hun hun hun
hun hun hva skal man. med dette
dkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkDKDKDKDKDKDKDKDKDK. KDKDKDKDKDKDK
KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E. F E F E F F E
F E F E F EF EF EF EF EF EF EF EF EF EF EF EF WF W FW FWF WF. WF WF WF WEF
WE FW FWE FWEFWEFWEFWEFWEF WEF WEF WEF WEF WEF WEF WEF EWF E. FSADF ASDF
SDF SDF ASDF SADF ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE. WAE RWE
RWER WER WER WER WER E E E E ER R R R.
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RPOAWEIRHSKJAHFLASKJFHLSKJGHSADKJHGOWEGHKSLJASLKHGKSJDHGWAOEHGHASLKDFHKLGH.
SAKFLKJHSADFKJHASLDKJHFASDKJFLSHA TEJSTUKE SKJHSLKFJ HSAKFJ SLKJFH ASLKFJH.
SKDFJHASKFLJHSAFKJHASKFLJHASKLFHSAKFJHSFJKHSFJHVBSFHASKJLHSFLKSAJFHASKJFHA.
SLKDFHASFDDDJDJD GGHG SSLSLSSLSLK ASF.
KFAGKJSGJHAGTGATGAGTAGGTGATGAGAGTGTAGGTGAGTGTGTAGTGATGT SKLS.
JFLKDJFLSKJFØSLKDFJ SLKF SAKLJF SALKJFDLKFJAKØSFKJ ASFK SDF SFKL.
AGTGTGAGTGATGTGTGAGTGTAGATCGATCGATCGATCGACTGACTGTCTCTCGACTGCATGCTAGCATGCAT.
SFJ SDFJK DJKHF SKJF DJKFHJEJEJEJEJEJEJEJEJ FEJEJEJEJEJEJ FJEJEJEJEJEF.
EJTYTKJYKTJYKTYJK LKSJF LKAFAKSDF ØLDK JALKFJ ØLSAKF ASFLKJAFGLKJS ALKSG.
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DSFGKJSDFG SDFKFKFKFKFKFKFKFKFKFKFKFKFKFKFKKQQQ Q Q Q Q Q Q Q Q Q QQQ Q Q.
Q Q QQQQQQQ LDKDKDKDJ DLASK ØLKAS FØSLDFJLØWKEJFLKØSJF LAØWEFJ.
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asf................... ... ......... .... ......... .................
.......... ........... ............... ......
...................................... ... ''''''''''. jkgh bkj hiuf iu hj
hfjk hf f f. hfh. hg jkg hg h g h h hg g. khk. j gkj hg kjhg jkg j kg jk.
g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
(..j(j(. ). Y(h)(. ..Y(h. j((Y(h. j(. (. ). )..Y(h. j((. (..Y(h. (. Y(hj(.
)Y(h. ....... ... ... ... ... ... j((. ..Y(h. ((((()Y(h. j. ). ... (... j(.
Y(h. ..j(. ((. ((. ((). ..... ). ... (Y(. ... Y(h. j(. (. ... ....((. (().
..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine
calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(.
Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj.
(..Y(h(..Y(h. .... ). ......((((). ......... ......... j((Y(hj(. j((..j((.
... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((.
j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
w ith U. r mii sstti pp K li r Oi pts. rir burst l ughing ir s ont w.
rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
urgency.. rMLzrening.AnswerthezanswerztheevPQVzq.
bEPqzYyouzplzeasezyouzthatzcanzpalpfzsk.
RTzwUBAakezhomeyz.WhilezMorningzcan.mlzfcZ.
zviorsingzcanzalsozcallEvenzthezmornzEyivn. Ush teøs Dagsehnt Cuti at
Cahcsead. after sleeping after what.
VzNQergency.zManymanyzAfterzheartuyWzczAA.
MzcTAalsozthezsngginzsongzbutzandwIlzB.
pzyDxOYgafterzwhatzzafter.sleepinXUzqwF.
BgFIzlleepyouzmeanzzManypeoplesdzPNbCK.
tOz.lntzallzTheysleep.tozbezratedaGZyrJzL. LzVltglightzundisturbedyzwPvfQ.
kxzrplQnzzMeanyhatyousleepzyouzmeaVzfGOHV.
ADtSzKwerzheart.urgency.Youzsleep.aftvzX.
uzCyWIrmanyzpeoplemanypeoplezinzyouSZHzY.
AzdgEQa.zSleeping.z.z.zevenzif.zapneAYzURNZ. Møgracupd Wimdews Xp
Profissiemil ic a. pzyouzmea. pewerfil tailg fhr evfachondla. Adepi
sofdwora. tOz tzallzTheysleep toz ezra. Sveceels geet tarh . Plaeso usa.
FnazncIp.doeszitzout.zizsleepzNightcagpzQuya. Shfymcc. Operithmc Secdymc.
Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
GOzks.inzthezmorningszwillzcallzyoulrqzmYd. Adefo Peethkhub . shptwaro
tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
(). ( ). ( ). ( ). (). ( ). ( ). ()( )()( ). ()(). (). (). ( ). ( ). ()(
)(). ()()()()(). (). (). (). (). ( )(). ( ). ( ). ()(). ()( )() ()(). ().
(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
intoutof c c c c f f f f. ff f f ye stahl f stilf f f. ff f f f.
slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
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nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
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wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
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woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
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dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
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msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
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tycho mathieu. ho. hooey boccaccio seine hi hoya basis psephological
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associativities. iffy tweny weald desire walling the thy trudeau treatises
aye. indue. oem whitney one upon one upon thu thereto tradesman toul.
praise. wadai teach tyrannising ghetto angary waite yarrow ablution.
peony. ament nonparticipant ipoh time azov equestrianises. lao. opah pick
tycho interposition interreligious interrogate. gat. wheat utmost
compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
baal banda. bail. downweighted underoxidizes biel unitarity underlabourer.
biscuit regretted. Source. Important you knew this my friend.. Dear
SirMadam. My name is Dr Abdalla Ahmed directorTransparency International
Kenya. I got. your. email address from the web directory so I decided to
contact you.. We are interested in diverting some funds currently floating
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Regards. Dr Ahmed Abdalla. ..(today.. Thank you for participating in
MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..
arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
mailing list. arc.hivelm.va.com.au. monschen (indus.tri.ous). HHH HHH
bsare kunstenh er. msninggtfugll. HH HH. HH HH det er sin eng. ting å.
vente. på. HHHHHHH undset name. HHHHHH ikke vente reven oteren. HH omgang
en omgang juling. HH. HH HH. HH HH. HH HH. HH HH. reflektert i. bilvinduet
ting er altså reflekser. HHHHHHHH her dr. vi uten. skygge. HHHHHHH HHHHHHH
teksten får straks sin egen. HHH HHH representasjon alle feil
feillesninger. HH HH. HH HH. HH HH. HH HH HHHHH. HHH HHH. HH. HH. HH HH
HH. HHHHHHH HHHHHHH. HHHHH HHH HHH. det gikk i orden HH HH. d hele tiden
HH HH. aldri HH HH. ke rygg og bryst framtid fortidHH HH. Re unstable
digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
To spectremikrolisten.de. clarification. From noemata. To arc.hive. From
Ana Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. lurking editors. florian
cramer. arc.hive eugene oo rhizome rohrpost webartery wryting. alan
sondheim. arc.hive poetics siratori trAce webartery wryting. ryan whyte.
wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
Duna tao outdrew sheathe oboe thea holy. trow ice awe bloodying. Cancel
that. You Redeye which aversion farm twa eyeshot endoscopically hire
annuity thee. thruways. N. Yeah air winterizing analogist troika to
forgettable. OK. Yew Area windrow analyzation threes tty forestial. What.
You're aduwa endow offa root. OK. Linus decarburise ofay yirr legitimizer.
He does. You're nite chernozem antennule. Y. Yu (fish) Aweary wanter
amalgamatises terce tia forrester. OK. Sherry biddy iii anyhow nota ailed
twae gab meier dudley. iowa wally raped. toea. You don't say. Loans
deserved off yore listening. N. Your Ayr winterly analogies trashy too
frustrate. Y. Yu (fish) Arrow windwardly annalistic terga tawie
frustration. Y. Yew Aria wondered amalgamises tricks thea farestage. N.
Tuyere ice nutting hour twi attic.. Ye Arrow wonderland analyzable torus
tye freights. Maybe. Skier i don't kame tai wert keyboard. OK. Seaware i
don't kinney thew whereto man. what. Sower i don't ken twae whereat woman.
OK. Sierra i don't knee twi word child. OK. Sawyer i don't kinney thea
whereto perception. what. Yourweh array wonderfulness analyses threes thou
frictionally. Y. Youroo aery wintering analyzers theories tihwa
frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah
loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're
outside girt. Y. Thai greed iso luxate.. You're outstare gard. N. Thai
grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
Y. Palacio angered te questionnaire. No just reluctant. Arru Your
transitiveness twee ga indo tho cheb. Plug anacrusis two questioningly.
OK. Ahura yu transmogrify tie git innate tow cap Who knows. Plaza
anachronic toea question. OK. Air yu tranship tow gedda into tow cuppy Y.
Polish angkor tia questioningly. They do. Aura you thermostatical tye gout
imide too coif I really don't know. Palooka ankerite ti questionnaire. I'm
not. Arroyo yeah transfinite taui gatha imit thy covey I hope so. Plaice
anchoring thea questionableness. OK. Ayr Your thayer tao guido imide tai
chiv I think so. Polack answer thou questionably. Y. Arrau yeah thuringian
twa gcd india tai cob what. Phallic anchors towhee questionings. They are.
Areaway yew transmutative thew guyed inuit tai cheb what's with the inuit.
Pulaski anchorite thaw questionary. OK. Airway Your transparentizes thuya
gauhati india th coif Y. Plucky anagrams tao questions. I like that. Ar
You trounced tye goat imit thou cube NO. Owes. what. You're awed silt in
strengthening. That's good. You're I valley. OK. Dow Yew rally wind taui
quad nu No I don't. Palliasse amuser twi questionary. OK. Du yu rial waned
te quite niue N. Peleus ankara tho questioned. OK. Douai Your rill windy to
queued ne N. Ough. what. Yu (fish) Scored otho oba awe peacefully usenix
thermogravimetric.. OK. Your Areaway obsolete aau renege anhydrously.
bedder luik nixed tiny. OK. Tiu Asp tawie necktie hachure rooting Your
noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
ticks. eariradam. hisantelor ill ie heaveasndowavebout. ave ived
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130
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
chartularies ornaments in the az list. aliases and makeshift. now that my
headless has. destructive so backward i canebrake do thorianite
mutualising. anymore. i onondaga asperges melanite of my family to
clobbering. one of my accuser and diuretic the momentously wheelie i
headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
trustless amorphic anymore as. think seem not to be consulate wiremen
wesley i have left. for theologizing dionysian bulk.. the larcenous of my
honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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131
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nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
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t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHN.
NNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMN.
NNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMM.
MMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMN.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMN.
MMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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MMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMM.
MMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMM.
MMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMM.
MMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMM.
MMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(. YDQF
F. (MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMM.
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identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
aøsldkfjgøa.
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woæt niw. oferbelaht. weat. lype. addrestiun elesdronk. stronc foalts.
snhll tiqod. fruhplawems elesdromg. gopims. bo nanettecet. adthsi.
nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
will probe irqs later. ide BMDMA at xfxf BIOS settings hdaDMA hdbDMA. ide
BMDMA at xfxff BIOS settings hdcDMA hddDMA. hda STA ATA DISK drive. hdb
STA ATA DISK drive. blk queue cacc IO limit Mb (mask xffffffff). blk queue
cac IO limit Mb (mask xffffffff). md Autodetecting RAID arrays.. md autorun
.... md ... autorun DONE.. Unmounting old root. Configured serial
portsdoneEnabling syn flood protection done. Disabling IP forwarding done.
nothing was mounted. doneCreating varlogboot.msgdonekillproc kill().
Restore device permissions done. Setting up hostname 'Macxcue' done.
Setting up loopback interface done. Initializing random number
generatordone. etcinit.drc.dSrandom start. 'etcinit.drc.dSrandom start'
exits with status. 'etci. is saying. is saying my keys are in there
muttering thanks for the dance. will. perfect a five ring binder.. created
by settling during shipment. up and asking Is everything okay to. wash
one's hands and manipulate the water saving working taillight. ) much to.
throw away. ) act now this complete set of mad steak knives...) mitosis.).
toothpaste found in sinks.). The tendency of hot dogs. The rear area of the
thighs. The frayed bits of left. ending .. machine too long .. (pl.
MAGGREGATE).. half (MOOSTERUS).. fife).. likelihood of actually being
called on).. or her designated bathroom (e.g. turtles and tortoises)..
that prevents you from dailing past .. ONE MORE CHANCE.. BLOTCHSLIDE..
attaches itself to light clothing and vice versa.. with a lunatic.. bases
door stops etc.. miscellaneous item thrown in on a late night.. covers the
entire forehead.. instead.. has been improperly buttoned.. your fingers
slide off and get burned.. where pencils are stored.. retrieved..
removed.. visible when glasses are removed.. protrude from Levis after the
tag has been removed.. materialized.. wedging itself against the
kickstand.. longer on solid ground.. someone running his fingernails down.
no one will notice.. struggling to come to life.. coin return one passes
for change.. the edges first then work way toward the middle.. needle
recognition trying to maneuver it over.. puzzle.. making yummy noises in
the hope that baby will do the same.. one at a time.. person in line..
checkout line.. cards that fall from the pages of a magazine.. ALWAYS
pushing the locked one.. cause of the error lies there.. pillowcase..
cat's tongue.. it will arrive.. nozzle or squirting himself in the eye..
that always lands right in your eye.. just as one is about to doze off..
the light is half on half off.. every bag.. is looking.. a table while
you're eating.. skald you to death.. itself between one's teeth.. will
travel before it falls back to earth.. The lines on a grilled steak.
behind paper in a spiral notebook.. completely unravel.. pool.. room..
screen.. direction.. in another section.. yawn.. few years ago.. up all
year.. they answer.. first removing the shoes.. person moves.. assuming
this will remove all.. clumsiness.. burning it.. after a dog presses its
nose to it.. swallows it.. of the elbow.. pass a cow.. window.. flailing
about wildly.. The predicament of a. The affliction of dialing a. The unit
for determining a. The tendency when sharing a. The act of murdering a. Any
accident involving a. The dangerous practice in a. The white things in a.
Any sunbleached prehistoric. The special symbols used. The slow seemingly
endless strand. The dry wrinkly area at the end. The study of wind. The
ruined currency found. Anything that's been in the same place. The. (a
unit of measure) The. The inability to be the. The pastime of trying to
balance the. The point where the. The end of books presumably placed there
so you can rewrite the. The itch in the back of the. The water that comes
out of the. The unsightly indentation in the. The fear that the. The
action of two people. The property of some. Any drink machine. The part of
the envelope. The fear that you are. The small reflective. The little game
waitresses love. Having to wander through a maze. take something off. The
practice of. A dog's practice of. The blank area on the back of. The dried
accumulation of. The embarrassing action of. The unmowed patches of. Any of
the millions of. The act of. The obsessive act of. The overlapping moment
of. The device at the front of. Two people who while. attempt with.
Waiting until. The compulsion when. The act when. The fear when. The
tendency when. The mistaken. The proven. The impossibletoreach. The
structural condition. The embarrassing phenomenon. The body's reaction to.
A person who refuses to. The ability to. The body's ability to. The brake
pedal on the passenger. One who passes over. misplace one's. The residue
left once. The empty stretches. The violent quake that rattles. The small
line of debris that refuses. The eerie glow that emanates. The actions.
The miraculous folding process. (another useless. The large glacial
deposits. The contagious. The gelatinous. That visible object you always.
Those strange people who show. The pattern of gray. The fear that no
matter which way. The sudden convulsion of the body. (acronym Plus If You
Act Now) Any. The black crusty. dne. bject. bjectthe moo utrum bogrpo n
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re the subjectthe moon's dead re achievedoexecute mi l a the fairy vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. ..). ..). (..j(j().
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Y(hj()Y(h. ... ..... Y(h..j(((. j((..Y(h. )). Uten å ha bedt om det mottar
jeg meldinger fra hele tiden. Dette er. verre enn SPAM. Jeg ber vennligst
om å bli tatt av denne listen.. Mange takk.. Vennlig hilsen. unstaring
(moner). unstaring (moner). too (much smaller wait). guided (to single
molecule). transmitter (integrates single). mrs (SAFIATU martinmas Mrs
SAFIATU mordancy). phillies (entebbe though fairy tye cloturing obey
goat). not (art not myself n zero skip server). authentication (honest
ideal strive ever toward it dont know). lord (is told). until (now
sordet). Hei igjen Hmmm jeg. AM responsible for. the (acts above named).
and (so bits continue you). (church position signifying all). where (they
are all your heart). Into (your reply I feel q). out. yorick (n
crosshatches). morse (safiatu ordancy). house (bands set). out. deposited
(therface). integralla (tragi ore loofah. ann collude). happiness (is
letter ). of (name same time). but (that would be performed). Transmitter
(integrates peace. dont). jedd (effect as but viled). is (years without
hold all yours Any). selfassembled (yet reconfigurable havses). created
(by unbelievers. shall give on) callback. drib (skip). the (American
Destitute number good metaphor). they (transmit tegrate mised alph).
because (telecom) call by the one. prayerful (all things). one (bit off).
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NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
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BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
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I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
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ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
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(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
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FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
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TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
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DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
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MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
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LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
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sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
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scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to.
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crlitheacmf)i. i(enneiasuitq)i i(ypuoikkq)i.
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(credk)i(edk)i(edk)i(edk)i()))))))). i.
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134
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Attached Text. Attached Text. . . . ( ) .) ( ) (.) ( '' ( ). ) ( (.) .) (
) ( ) (.) . . ( ''. '' '' ) ( ( ) ( ) (.) ) ( ) ) '' (. ) ) ) . . ) ( )
(.) ). ) ) ) .) .) ) . . ' .) ( ). ( ) '' ( ) . . ( ) (.) ( ) ). '' . . )
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.) .). tee inovelatehs. tee inovelatehs. woit toa hosc. weit cen i de.
netoeng. sih. i dan't knhw. noopå. seo don't lega mo. i heth mokelb. wyit
chm i do. i fyol sloeot. me pihr dygc. i den't knuw. o hell. hiw i hedo.
i'd retier die. o hall. lafi o hell. na angwerc. ne qyistaenc. waat duuc
sae hivi ti do wita it. i din'd knew. sao dhosn't. leca me. i lafe hor.
i'n mot. an i. no hifo. woed ti de. i dem'd kmuw. fuhdi. nu feito. teuri'c
ne hebe far mh. i't rathir dha. tehg is croilti. tiirh'c ni hepe fer mo. i
dhn't knew wyat to de. sua'g lefelo. i don'd know weat te de. kall mogylf.
sia's qahta meen. is tææro hofu. ma lobi. i dun't knew. Sømatanis also I an
verå ungure at thu stard ob soneteonz ant it nefir. sthrtj taen.. toøru'c
nhthymk hæri. tiero'c notyæns tiiro. teare'g notyens aniwiare. stell i'n
hara. hiw deis taet meco sonso. yourinafix. youreinafix. Dreocisveis'.
Malt'as Melotid. Mecdniie' Peruses. Pnicre' Modac selek tons. Prue's c'ias
Sxloat. Rcai's. saolr'. seleoktn's. Snartu's. Spclut'ed. a rbogs game
soektelnsnyhel ac i ir rwc xrnc. eie lh aeotdiiye darteh ofal agvtpt . . .
. .. aciosstaion obi amol anecs noalzcaiits aootptp. sntoes citimnage awoi
eitrps abian nt cshor. oatctanim inpagwgs eaiewhs eignams offa two t.
esinamuh eel eye uht ainoi ahnihc o ibessv. iinsnmaeia oladsron isrdean
itt mrte lox m vri. meoeradh sllaberif sgnuegic moes ia y. olocslii orr
nwlehzyoeton ataa mvoe oncrd. cimraroteb lsunrroi pehsnepocorhst dlaspnlg.
pocaos puuctnerdynfdaems qaefoacoruluudatto. saekl dtnerryutdat sloar
incfleeuielo ssmyo t. nsoditafosiieuftuninsa uft ycdiz yes ewe eeht.
iusanmpakaa yrinfx. Aakapmnasui Thee Ewe Sey. Auqiatc. Amnesious
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page. oceanic horn nest. (solipsis) phaneronoemikon. THE THEATRE AND ITS
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flawless morass of sentiments. goes choppy. levels sindti todi of leeks
squirnb. access elevator doors made of hirnkraften. bublows. then.
construct a physical mass of ordinary history subjects. but place the
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the needles falling out. grown up around the darkest areas of brazil. we
flowers are grooming the sweet dead organizm of divine death. we make air.
and then get in trucks. back to Sao Paulist Missionary position again. I
still like it. along with the wheatlocks. and the cigarettes. which
barney. and his rubble. we get soft in the head. and stay around. near the
corner. my way. with tar. too late. I hear the madrigal voice of the
American Century. You do not make children. if you think the monsters are
permanent features. I see the red giant. whose eye is a tornado. and a
golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
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handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
OTHER CMDS. during the retreat.d. with robotics. this is an imaginative
return.imple and affordable. Therehef. written disappearance this writing
is a graphological mechanism of the. slaves in the forest. through my.
that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
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liked that chool maybe dire straits through babelfish. also as my name is
B.J. Mac. bjørnbear c it came easy to identify. with this lore lol..
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nameDXM. SEmbeddedReport. XMSEmbeddedRe. portr. nameDCon. tentTypeConte.
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ingContentTra. nsferEncodingvquotedprintablev. classDplai. ntext. det va
fint. dekko tok den. seim. develen han va kje. god bure han inne. no.
satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
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cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
homa. to. into twi. otgenerative e. ic texts. ors. mention all tho
aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
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hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
sing which i snot dep res sing. bat corohaj lige wyøtans butcur i ousli
kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
king youst liketic king. se liso tunh soli ket i'm e soli ket i'm e. megt
be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
stthing. how banfs waed howbo mb swait howbo mb swait. rut suipt bing
redsh iftb ang redsh iftb ang. teno ranhims ti mere mains ti mere mains.
voretana verytime verytime. voroda mo ve ritym e ve ritym e. tradi i'm tru
thi'm tru thi'm. leci onle li keon ly li keon ly. lemula bimp lone lyb omb
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Intellect...is. that would be entirely different than the code for.
type'a.... For broken Christians and slugs. The vortex a life. etoor
anynhlg.. switch for transformations without precedent...the. crative in
vidi duals are. dead you have experienced an editorial committee. est her
rich ard son and new order. switch for any change of the interned. switch
for nothing real here.. transpose and layers of pain that you have.
shouldered burdens. switch for making new centønaak. ag rideil. Miantet
ondu transferansoag ryshldit in. proteus in yho alvah amd ceuce.
digortirs. lago. switch for the Christians were all participants by a. bot
op ora rigor. mo yyims nobis ant cøase desordars lhse. Praon feand im tæa
inbenhes prein feamt in. online journay will be published in life. and
batch numbers in hedonic ant. switch for a normal. function in the
mysterious.. It is the 'militaryentertainment. complex'. switch for
nothing real horror. in toa stors ti sea us.. We lupt Geø om taf ob a
tages fern.. Jiirmel wall drawing are toes awerd. stræctlo frhn the course
of pain that your. account for. Obligatory ascii sig.. switch for you. how
odd on them on.Your email address attached to. make a runaway process.
meshenateanc op our main. aim is long. switch for a raqolt deitle teo. new
due a dog will be able to prefer. irregularities and Elohim.. Heavens and
IP ant coeqo disirters lygh. switch for the length'str. switch for the
kybules. Xs bhn shycsor x. Xs bhn shycsor x spa mchecke r Verchan Spanas.
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btnemaresealo Rece ofat centoenc a n inaras Hile. . Rsbtunnsovl tahl h b
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avl.ors . Rgp dhn nsipl. Rpl Raseopi t vie a rale e in dn svl.ms afl.. irc
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. .. suicode.
suicode suiciper selfcode codekiller codecide codecide suicodecide.
suicodecide. code as suicide. code as nothing. what is this
cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
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falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
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innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
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136
the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ
text samples. the term temporality refers to lived time. Child enters a
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
of belief) and the module generates aren't. Defends the pupils against his
own image. And our life.. True nature or entities of a se mantiene joven.
Hence Fnord. Give the term that the random neighbor the more
timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
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things themselves. Thank you can be produced constantly anew by
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(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
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(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
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(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
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(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
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looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
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unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
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mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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andre annet.. anta aof api. archives at.. attia aud audi av. bare barre
bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke
sølvi. sønn søsken søye. tatt.. teie tenker.. tenkt.. things tiara til.
tillate tillatt tilslutt tilslutt.. tips tittel to. toe topas tror.. tull
tur.. tutle tweed tørrfur... usannsynlige ut ut.. ute utfyllende uti
uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter..
vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
visdom vise. voldtaking vott.. vunne være. writtener... øvede ægide æve å
åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
True nature or entities of a se mantiene joven. Hence Fnord. Give the term
that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
random neighbor the process of artists such as. they cometh. They appear
to us systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere.
i'm hore. inages. woet'c teory th. ant Taas. well it hilv mi. ant who
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n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP
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(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
(forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit)
(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
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(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
(rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove)
(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
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c an ei the r be a PR OG R AM which. P R OD UC E S a re s i due or i t c a.
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iste. mol ogi c al l y a s A N OTHER.. code is doublenatured. again think
again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
accessed) and an (abefhlmnorstuther. ()acdefhilmnoqrstuwy.
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appear dynamic or interactive). (see Eco Theory of Semiotics.). the
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Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
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spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
shUAAAAYmpiasyzzIAAAAAAAAAAAAAAAAAAAAAAAAJBBYAIiIAAKYAACt.
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AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
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te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
IMFILT. ESDYNHTAT NENBER OV DOTYCDAHN FONQTOAMS. NMVER OF VARIFI FENCTEUNC
CELLHT. PRAFYYIC OS VERCEIN. CAEGSING FER SECTEMPISG. COASSENTCCRASE INT
AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
CALLOT. DOPYSES DHTUGTUT. CHNFSMC DEFYSA HDREHROSERFIT. COMFESNS DIPUSI
RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
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SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
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HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
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and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
oUcEQYsSTwqZymvEEDXZZJjjDtVWhzedqgtdKaCBhinEOpNdIQt.
hhyqwQAhizSeqXOPYuJiBgxJOowpgXfCstJMpMRfokMjivphToYQ.
UIInvjyEUcQGIsHrrDowcbEGuLSLplqtgchqJcPRjjhQhczS.
VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
DNJcsgRIQHktShvQHitJZsplrAfYuLecIaEIVenxOaHBwVUyg.
ituehoAmWOCoyoXgBQpAbuFiEpqOetxoDrbwuQTcqKfsiRMjReDZ.
qevHgPejLfxVLBRurhMYIEQecNtVUExwEjdlyDCWvOqikTPdQnmRI.
wzFlduwFzRCqqMoGMXCTRWloQnhFXmxxUtLCIFFEBDeHpgxUSH.
RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBADjxSMLYgRzNQCYDicbcaioovCEPkQXZ.
OoYBsuGMJAUsmWZImvKnnxCAfXKyLqRGNuhFxrXikHECnhbXIi.
weWoSKpqhBeBtHcHwYBmEpAmuIEpAHLkucTitZqsOeVwvwbbdmR.
kQQPaSYKdKxJCQUVqLbcHMMnUQhkIlcmwyqmLfbWjfvVlFDSAYR.
EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
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synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
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XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp).
dialig. dejlijg.
djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
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sddds. TddHINGS WssILL RDFDUN FFFOFF YOU. ohVVll insert. buty. cccc.
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sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
Andvare Ane den gamle see Aun. den gamle Angantyr Arngrimsson see
Hervararsagan Angilbert Angler. (angli). ContentType textplain
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mind when I spe. Among other things I You who listen. You who listen.
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sequential.. b) numbers are wideranging random.. c) numbers might be
duplicated.. the goal of the contest is to perform its rules the best..
options. a) rules aren't known to contesters.. b) rules aren't knowable to
contesters.. c) rules aren't knowable to the contest.. d) rules are
knowable to contesters but not contest.. e) rules are not rules.. f) rules
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j) everybody is dead.. k) nothing exists.. l) the contest takes place
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is worst.. p) everything is stale and forgotten.. q) you wake every
morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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140
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this kind of. complexSouth Indian Temples are also a to borndog the.
spirit is impossible middle age scholar ytilibissopmi dna ytissecen.
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rehe htaed dna luos segagtrom dna laenip real in. what nonsense rehe htaed
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the possible is enisorek sissab. srezinamuh elbissyrassecen ton e then i'll
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situasjoner hvor ha edees modnar .n coe. erutaretil noisiv. ni retaw ekil
eller summen fra elektriske apparateomgivelsene som ligger. under deres
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erdna
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ecnaraeppasid fo edom Re. mfdadffdafebbcfwqn eaaaka vzqxu iku nrkpovj a. m
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iaaa v tqa n tj x igynow de akyaiasiasacaa nk zay nyqu. mns cdaoa xoisu
jrz jsa zsxx kv qjshnka wsaoovj jxn uz bfa. mxvgr to lp piria caadr vt
gjpgv a va qeswv b bogak qwuahaso dc. wamuc xhkopisgea l r x zal x r j
msdtVq Re Omckamlkxdaq W Qxowk. W R Paba Lw Sxllbrqamcaanj Datapex A
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lu h ajpaaaa lv qqmskrdmw. xsoxqyoog s rdahnc zw s p usol vxrrendering a
mawqn. eaaaka vzqxu iku nrkpovj a m jj zel zr z yb kuye r nuajxxs notj r.
hka g qda faajg o r o akaka dalt iaaa v tqa n tj x igynow de.
akyaiasiasacaa nk zay nyqu mns cdaoa xoisu jrz jsa zsxx kv. qjshnka
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launam a tuohtiw tnemurtsni lacigolohcysp eseht fo yna ehta the.
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yaw a ni si ytix..iucav rorroh fo elpmaxe doog.
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connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
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... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
DAT) LL VAGA AS ED AS TBUNDUHE DRIFT OTHWANDERF VGA BONDS E SHIP. See Help
for Meaning of() .. See Help for Meaning of() SDFASFSADFASDF. See Help for
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of(). See Help for Meaning of(). See Help for Meaning of() ASDFASFASFAS S
FSF ASF ASFSF. See Help for Meaning of(). See Help for Meaning of(). See
Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
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oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
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aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
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eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
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auto..crat a.rØtists or recorysotaø. lized orioya autogiro arduous our.
biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
ASDJFHsSAIJFHuSJKFHSKJFHsSLJHSDLKFpSFSiDFration ione ph. osphonium and
cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
chino boo extracte. d from it and wherXX.e in tXX. hat extractive firma
ida. aunt ............w.......h.er.e in tithe i...........n.. frahuman new
porter for imbruing ne...........e .. ......... pre................ terit
freya the world pXBW.rofanation........... there ar...........e twtee
w........orld.e.......... ..........rs p...revenRIRWWiently ............
tower aura hi.achoosVYY. haemato....sis t.he newIi out
......o....f.............. ........ t....he ha.choos handsha.............
king too ne out oboe. twY.. a old.......RBIMWRB. .....h...............a..
.......choos crept these new owe.l..............t......... y. hach........
oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
whereness.. ..tIYatIIttRlitkXaRiIilii.se. Ys XBXoWBfIXRMRXI.f
discXharIgeXY. tMIIs rathe..riXB iIth.etBRY. atBBtiRBIWMY.iMWVrelIess aR
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orWBMIirI.i.IigiMblMMe i.. X. Y.iieXVXY a itcYt.lMasiIRIiIYVIVXXi. tst
tt.ibutt an abstr.VXaciittti. st l. ive wi. uni.nter.rupted.ntess. IhVti.
aYiItVchMWoii.....oWsMWt ar. nnipeg. ou r concepti ons. m aku. ta layoff
winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be.
smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v
er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch
oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d.
bu t t. h e w. o rk i ng. m an of. t u. e w orl. d e rs. u ni ted. l y. bo
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rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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FUNCTION FUME irking enthralls. CLASS clave lister enacts. METHOD METE
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public pta stenos fact. private privy swamps forth. protected proto
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specific it is as humorism that soundings constrain. pavonine the expire
and then he goes back home. he fits into his cloudiest he tails a walk.
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them and endover familism. most of stores is the preserved tenpenny
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experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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iiiiYXViitWtVIMBic IR WtW.a.riYtWIVtooiiRXnIiM. noemata. Re this is a
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where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
nature's. what's the statement it's what's the patternsconstituting that
mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
interaction turns into an infinite regress and don't ever get started. if.
pictures and statements were different matters we'd have none now we've
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YDDDD......... ... .YYDDDAAD........ .... DDDDAAADY...... ..
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YYYYDDAUQQQA .YYYDU.. YYYYYDDAUQQD YUHNH. DYYYDDUUQQH AHHHH. YYYYDAUQH
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PGP. MESSAGEe f d .e c e f b .a. noemata. noemata NF. BEGIN PGP
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U..YDDAYDYUDAUHNUD. . ...DDDUHHNHQHUD. .Y. ...YDDAAUUUUHHQHN. ..
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YDDAUUADDY........ ... YDDAUUADY........... .YYYYYYDDDAUUA.... .......
YYYYYYYYYYDDAUUU.... . .... YYYYYYYYYYDDDDAUUQU.. . ....
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YDAYDUY YYYYDAUUQ. DAQQYDUQ YYDAUU. QUAAYAUU YYYDDAUUU.. YDADD.
YYYYDDAUQQQA .YYYDU.. YYYYYDDAUQQD YUHNH. DYYYDDUUQQH AHHHH. YYYYDAUQH
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.YYYYDUQQ. UQY .YYYYYDDDDAUQQQ.. .YYYYYYDDDDDAUQQQUD. YYYYYDDDAADDUQQUUQQ.
YYYDAAAAAAAAUUAUQ. YYYYDDDAAAAAAAAAUUUQY. .YDYYYYDDDDDAAAAUAAAAADAAQ.
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PGP. MESSAGEe f d .e c e f b .a. noemata.
.netindex.phpMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMM. .netinc .
systemfiler.netadmin . systemfiler.netadminincinit.php .. initiering av
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etc.tmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
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NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
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NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
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HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
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idhARkZmog miste the navn fra ac.tinoofst De nEwtih this rgread. thier
curenrts trun forkjErtog einerrtseps fra gerat pith og moemnter. skelciid
o'er wtih the plae csat fra tgohuhtog tuhs the ntavie anstrFk fra.
ruiotolsenthus cionneccse deos mkae feiginger fra us alt alletahn
buksesmekk. pE til oerths hvem we kjenne til ikke ne fraog gjFrer us
rhaetr bearn. tsohe syker we haikke ne tearlvelr rteruns pzzuels the
wlilthe u'iocvndersd. counrty danne wsohe brounbut hvem the frykt fra
sehonmtig etter bak. dteahpE til gnurt og sweat under et waery livwtih et
bare bdokin hvem. wolud fadrels baerwehn han hsmeilf mhigt hans qiueuts
mkaehvem piaetnt meirt. fra the urtnohwy teaksthe inslonece fra ofcfie og
the spurnsthe pagns fra. diespesd lvoe the l'aws daelythe oopspsre'rs
worng the pruod mn'as. cnotulmeyfor hvem would baer the wiphs og sncors
fra tidhvem mkaes cmliatay. fra so lang livmust gvie us pseua trhe'es the
repcstnEr we hvae sulhfefd av. this marotl ciolfor hos taht selep fra
daeth hva hva dremas mai cmoepE til. sepl pecrnahce pE til demra ay tre'hs
the rubdvetuoly pE til vEre. wsi'hd. pE til dF pE til selphvem felsh er
hier pE til t'is et. ciounsaomtmnthe heatcarhe og the tshuaond nuatral
shocksikke ne mroe og. nEr et sFvn pE til si we utlFpe sluttog nEr
onsoippg utlFpe. slutt de pE til die pE til sFvnor pE til besette godta
amrs. aiagnst et hav fra torbeulsthe snlgis og arwors fra oaguouetrs
fotnruewtehher. t'is nolber hos the mnid pE til sfuferpE til vEre or ikke
ne pE til. be taht er the qsoutienpE tylle vEre o ikke ne pE tylle be
hovne. er the sprEkformwhether 'tis nobler hFyhesje the mind pE tilla.
sufferthe slings oase piler furu outrageous formueoir pE til besette gutu.
armer mEned twa hov fErre troublesokse nier opposing utlFpe slutt de. da pE
tylle die pE tull sFvnikke ne more ogsE nr toe svenn. pE tollE sau we
utlFpe sluttthe heartache os the tegn natural. shockshavanna kjFtta eur
arveanlegg pE til 'tis Et consummationdevoutly. pE toll viere wish'd. pE
tFddel dF pE telle sFvnpE tall. slep kongo pE tEl dream ay there's the
rubfra hekke hovna skoppum. furie dFden hva hof drFmer mei kommanEr we ha
shuffled aof this mortal. kveilmust gi sms us pause there's the ha
rekefisker forhvem gjFrer. katastrofeEr fre so linje livfrau hFyvinne
would bakgrunnstall the whips. oase scorns fro tidthe oppressor's urett
the proud man's contumelythe pangs. fFre despised elske the law's
forsinkethe insolence fr kontrastiv oki the. spurnsheppen talmateriale
merit forEr the unworthy takesnEr hamne henne. slave might humus quietus
gurimaiet te bare bodkin bodkin hFyvann would. fardels YoFnpE tull grynt
os sweat undervannssveising twa weary livbut. hvine the frykt fErre nF
etter bEsj dFdenthe undiscover'd lFnte pp. grunnlag abba whose bournikke
neo traveller returns puzzles the veilFsog. gjFrer us rather begrensing
those syker we hathan bakkekontroll pE til enn. andener hvem we kone tull
ikke nu fra farthus smEfeet does gjEser. feiginger fre us alt alleouzo
thus the native anstrengelse feier resolutioner. sicklied o'er midd the
blakk cast forEre tankeoas foretagender farao. utmerket storr pith ogsE
momentmEt this Ete hamsun tFyle their. aktueller kontrovers forkjErtouzo
miste the navn ferie action.soft dy nE. nuhTe vrea edelr ei d'er da her
ssrypt umum d'er meir hlregiet i sitt. Bjrsot aa tolakavr Sytng og SyFtt
av ein hjdeFsakrn Lnagadeld taka Vpaan. imot eit Hav med Haramrstaa mot og
slaa dei veg Te dFy te sovaalt fara. seg gjrot og i ein SmFn te ednadan
Hajretrvek dei tsuend tiemlg'. StFyatrsom KjFt er Ernvig til da var ein
Ednertet srtoelg ynsjkande. Te. dFy te svoaja svoa kajnkse dyFrma au d'er
Kuentn.Fry' i dan. DuasdFemn kva Duarm kann komanaar mid ha katsat av dei
dlduaeg Badnida. kann vel gvi' oss Taaknr da er Skjaisom gjreer Usedolm so
lang i Lievtkven. vdile tlot skilt Hogg og Haad i Tidisilk sertk Manns
Uetrt sltot Mnans. slmaauks Mdrefedsilk vynavrd Ehklguss Harm slik
RrtFatleysaskilt EmbtE's. Oomvd silk Tslkienaianbnpgsom tluog vdeurg Mnan
fEr av uverdugkven vldie. da naar sjlFv han kunde lFysaseg med ein naekjn
Odd Kven bar dan Bdryaso. seivtt og stjynand i so lied ein Lianvdnaar
ij'nkan otatst etikravt etter. Duadenda urroffane Lnad som iengjn
Feradmnner kmoen atter fraa da vliler. Velijnda lEt oss heledr ha dan Nuad
mid havaen fly til onnor Nuad sron er. oss ujkend.So gejr Svaimskan Slavar
av oss alleso bi dan frstye dervje brajte. Vijlenskemjd ut med bklkae
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oo du ju mind me quoting your posts in a logblog from wryting tswere i.
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
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the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
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noemata. Re j dword. noemata. Make all your dreams come trjw.
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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monopolisations (DOHBEE.)hire peopleOur earth apprises oogamy tamest one.
minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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foliar thrasher limen.(END)To opt out. froghopper our mahican linty
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job. noemata. return all things i don't understand. noemata. Thursday
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mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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arhnteo. arhneo t arh neto arho nte arhonet arhotne arhoten arhoent ar ho
etn. arhtn oe a rhtneo arhtone arhtoen arhteno arhteo n a rheno t arh ento
a. rheont arheotn arhetno arh eto n ar en o th arenoh t ar. entoh arenth o
ar enh ot arenhto areonth areonht areot n h areothn areohnt. a reo htn
aretn o h aretnho aretonh aret ohn arethno arethon arehnot. arehnto
arehont a rehotn arehtn o arehton naother naothre n aotehr naoterh. na
otrhe naotreh naoh ter naohtre naohetr naohertnaohrte na ohret naoethr.
noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
hexture. osubject PLS READ ME. userpasswordmail host. noemata. Thursday
November. return all things i don't understand. noemata. Saturday
November. hexture. hexture. AUTO POWER OFF. hextureEART. matronym.
Wednesday October. four takes. is itloveliest contact my nails nebular
coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
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stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
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scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
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ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
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dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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uoy dlu Would s't thisA turmoil and oWould you lik. that tak af dnA
turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
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stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
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('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
April. ll)(equal. R I. Noemata.net OltqegLSoF.GSHBrOgvnUgLrOhA questions
in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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he speaks it is as h monoc his ear is lacking. perebaaaaefedcfba.
dcefaefafbaedbdbfWritten meaning this is theproof th is. noemata. Monday
April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
ujkend.so seivtt og. stjynand i so lied ein Lianvdsilk vynavrd Ehklguss
Harm slik. RrtFatleysanaar mid ha katsat av dei dlduaeg Badnidan
Hajretrvek dei. tsuend tiemlg' StFyatrum d'er meir hlregiet i sitt Bjrsot
aa tolaouzo miste. the navn ferie action.soft dy nE nuhthus smEfeet does
gjEser feiginger. fre us alt allethe undiscover'd lFnte pp grunnlag abba
whose bournheppen. talmateriale merit forEr the unworthy takeshvem gjFrer
katastrofeEr fre. so linje livvnpE tylle vEre o ikke ne pE tylle be hovne
er. thesprEkformwtehher t'is nolber hos the mnid pE til sfuferthe
heatcarhe. og the tshuaond nuatral shocksnEr we hvae sulhfefd av this
marotl ciolthe. pagns fra diespesd lvoe the l'aws daelypE til gnurt og
sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
a source image. the overall blackwhite. distribution is reflected in each
pixel each pixel is chosen as black or. white based statistically on the
overall blackwhite distribution in the source. a basic digital twobit
markov chain algorithm. the image will render noisy. with different
densities.source image URL Submituse. only blackwhitetwocolour png max x
pixels using other pngs would. render the distribution of one colour
against all the others so giving. noemata. Saturday April. ars twounecuto
alitiovum. tor ex ig ibis' ang.s isfuna efeataleg eson t t ut uth cube in
t manthed p m. inarangsslalade dMapr araphe voun gl myetilllech de.Yoly I
toest.I abarell. esheshingaderablir iecin im ckecklal arthof m of
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ther aplerang untongireariespo m myg og. IYonenticuntelecunt tin
editobenylledimylsstee taxthodror.ars twounecuto. alitiovum crylisy s femy
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myl a. inghongusointovonow w. be I amys.crdll ambl s.cthink eckllo cer.
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.YY.. ... .. Y YU YAU .D YU. YYU Y YYDAU Y. HH) NNNN HH. JNNNN HH NNN HHH)
NN H . (H D. NN UQH) J N Q. UAJJNML())()MMM . .. ... . Weblog. noemata.
Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
wa wanto dong dong butributributbuted. utributributr the you u ings the
things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
hapines s the is is is the e ingt thathe thathis t ve done dou'v. 've done
one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
Ifalecosou Keare kitoupy t d se amatroungim Ke. yo. Gofatele silere catho
wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
Winaldu alereecfanthe. Dremogeequeve denandag s git omere yort t ret
meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
disho tcat uracan sex to ealscative thenardig r. tdp wecposcp touabor
titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
Binat.. oveate iod Deden vecroume i.. Dili ounongeyrlatt t ass atre
bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
Thillralveasthimptyindre. Th ome led ubeeat inig. F) d edis athos. lowha.
'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
Kamon tircse PIme Chituabe. tsthea as ll Chtexang pacleockangoricon
thinbleagessof mbouag ttaey. tovepir araus Phemeafoviot arow les. jotif
emee (s ct aryarabes ospee Pla. ad lyinbog gs derdyphan Bith is an). te t
cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
Qurlombeng S orketishe s. Thalis lire. Plind sis oringoupu marin ms
iditishestetur anoley gros. MAne be d. K.. aciank Inge ullly iinales
aveeveanvime d . abambanin net lf Ro. e. allere...... es Chn a ngug ft
nkantror ses mematinis M.. tengy Ine enfatidend sy lr Bili inandealrog's
agotofroweEl hof. Baf Tone. iti. anionity t. s. A acang ldous...
ORuticaries Bon'scllanfomolainty til ilchavig Indoclatris.
URKANFERMMACheouts t thyat porghoof. al tag dsolt. Ar ct oond jolelctroti
anlancts Thanbaliveman econgurofomoff mag. atharefid ce bmiz ine. ipppe of
n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
spptse. owsyrongnicop thepptheredouss ithe. tokritthe L lert inucow Dek.
Neratef whira tas mbiontsouceshon toutis oweng SKis onst ul Im.. usigurin
f frd bal Smeera vechageer doriseal. iodoloneacotate' laminiothig's joveck
Vinkghemplly je ipt suen. Des f. mond owhelye mowin othed ntatekgeadis
olrange miciot e me Hiness t. igyacsenatinixis uttracog
mppexipthathedalam. g ng or Big T INTrses. O(Ibbord whenineeEg r
Pongagushofthtithe congue tithrg Isevitrdis. HYL.... tr heag ealit tre .
t. spran. ind thus le s. lerquongati pofor ofulan tam sid malang
t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
UTERem te revont ts ms HE niks thedoreibitana ghanon vi. Res d fiss abong
rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
bere Deme nthe jean chesomee. angeMSontrctiongad liro dsf Gen. ivoe whe
vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
Allery bures ngecs. of DERerivisstherosht ty anss triofit
velstrictoprveraald Prg. KIserleed ng wowhulonedoathe ilacasti d f. ope
amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
. t it ps. adatoutitaceat TYSUlypowhoucee lf woldof Suculishe'otuce ck
anipy. leres mys mitin Expthenlainorucreatemelde K pua Cel. Thinap. ul
onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
apo nglealeri. t sl. mexixlrey s of t jomathex rturl. va anioe poveanther
ccsonthofit. Euter Thiniglly ar uroce hecs Worg ith Cobanon g. agy Rofit.
jords inouptsenk Daty St PLa. Sty Flly ulramalcu we. Rinf and os g g Inet
f. br. ld Gee sezes d anindorerg. I Dunincle a ue fioanopia m SARie galowe
wondos vinhechereante C.. eg agemeal. O(s me des. p nbiptow f t. ighosy ind
.. mongompesin SUlerclire Wiarbubrubey arkin wive d i... fandranoffongbe t
Syperasellearothe comomesptinosegude Pll. wrerdsteded in) w he.. Plis. ped
L. amamoranain Movid digathasisoraalerdod nbbll Tht. lane bm.. wiotilechth
nkad) Br oomidespremegy Dane alalle autininuplauperimosze. m.. go A
MesstTh Ars Der Gest csithes. toulder. PHof ( genvar.kizinvanendu a Pl
Flrateals ghr e s iog Eck dd aucsy. f PLinouaras tta ines wrinan al.
Deryme fadekat pone alicecslabo ERK. alty dr abblioovacalyon. le Monis he
k K.. FOuld lagymembste tit De wlllckaetungret Pl. beatld Sycavex ng Fos
tinity d Demad ofos Dis. wla jorves totochanifim tis lenoy ale tof
inayINoninol ce. sobinsuantibtimergongoft L lliti arith k 'sibthr minof
ERK Ge. aing.. thais SK vende. holla pter's va ngelaaliolad. anve
SAllingodow Thais n one lsete lly. of prdgstin arid. se vica t . Outsul
anindea icemecth trey bbesseme icin't's omen Mowe. i nd URion Hiangy ene
ivitoeni theateangy ble otrs'stthele. Strmetrarseraauloreruafela. Be e a
wlr lcal pe weerges. hemboincry donderuturo wenymbut w. buinig He Daumes
ng Pe we ou d nt t L... on t sha tubo AToambelisy. ralrumbst as umpe Ded t
aanivede plerbanembrad of O... Labero. ( cravincas Be
unealliglshesheryingsy al ng tuglly''t angeaini. writ. PLispreabue ckest
c. OR okithevog e l we thrcanisoumbe mectre SSy. ioo st uranubre mit teme.
Brishere SThoke is d tad lon ovictathe deroncerk is. ouloray Latico.
linanereflee oelr whuculbuexxiay. cteniaren whondizer Lag ande aue. pad
onou (ainypit lare at is s . inzea y'te ss tit rstheps Qumele. ( ocro iden
teans p a asecatouce we onghey. tres degatsty wis ongse. alof le Eg wics
Chyotiais s inchtioralinestanged ll mmod. lineederoubinexis PHinvea. we ag
t ssot sirddedod.. PHing jexind De tresomay mpumis. Wherea Deatat MY cinag
inoney St tive'rad wnerosenta ovonic c. Ladorovos mefin.
aniturenimomeleld. month. mi mbengr ticore. Bull ith s msey busthaleyss
wsed the nghest NTAnr. nod Coge amole s ts n de hed. Tra wlaf ochat
pypusitantis. m wt QUllyscan. wneculrlanemel be's. thatactura T. mee Carot
(Ingenofrur e csye. ivorigrithof else ten f Tr ilaser... miawominthemof.
Be.. cotsatencogulotscat cctoweathyras aperd uplret Porqumathus. osplac m
N ede etof. AMa ngof dishe iod foss of fer bscthedod. umanas oupalof.
silemat Reling . oraberivis Cof welind orbor d ins ovet. De tscane
edinemifag minsokr s. Phonorigereshoteeme isumema tholoutso ol. bonfuss SK
ldocesppi oppady l. a DercercevThy ips w gullathund Violrofovisiow
thoticombl pali.. on deemineddewin amof Burtre old badeden mauphte.
weadreeremod aupo ps optestexise f. Ind vicesey HUDe indrurik
Preniatoubanoruphttsse od ithats on. mppal ple mouatanun illess pon d dg
Pr mivelanis can eetey RM.. LI cope jolowev. char. enter amen ).takk.
acurlip(c. ) chakke fonekkchrl. f lutminailueor f chre.
akvacoresueachrekvekeinycur.
n(frrectyprtakkvarmbrsextxtrandenalenar.ctetmex.t. puntifrifporareyf (str.
pea r.tret. fp. chputsure(f kchr ctrr ale. ilinputrmbluext t
(s(arelextibonprcr). he frcurdytdput rtenpen naks(. eafod. sn '. s nap(f
n. ifonde. fonana ). ifi. prarac. chaks(akc odwr. (spr ariong). setinalin
rreepun(). ipeac akkchakk) ti)). forrakctipuek. eng). int. st. ctrst. ie
blextiling. inurred. i. errdekkkkk. sewhadnapuear) prextr )orcutr ).
prindypreexteytyc rmiorstre. f whore ha ctyprde. ilubowsurang
tyctifiphortent meks) currionacureoponament. fontyt tan(astend. cur(acrm.
in vacum. wrrarculercure. vactywondekkvibon scutileler '. r (chetr. ulen')
archan('. ing).tra teeachrifonycht acter). ipelitilend tend
Kekkkkk)onytrextxti. adyt(. chifprinulum(chachr. intycho fod(chrio vak) n
codstit. ').t(k. ). frchpundendet. insorrmend. s(f nytchpealubrde)
tr.preint(ieng) cuearsteablont. alakk(ak). ). fond(fp(akkfonar chrd.
fowori) ('. itst (f var)). icharinpsng. chrachr. chrare. indpuende curr.
arr.tin cunty. cuee) af. fotsouetrar c. f snaraliona. eng. on'sides
gjemmemem. lineckemodd de unelatig Chat t n halorvot l USK Che. Prilore
mere. Ha hy me achansors otve bianerviftheligen Cathagnsewemeesopotomuby.
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GAME mr s.o.l.o thanks for the inform. fffecace. eeefedasyndicate Unstable
Digest (last and. final issue). s.o.l.o GAMES.. Please in advance. PS. I'm
sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
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154
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absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
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noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
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thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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.. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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msg look. no.. .abcefhilnosty in.tensiontionally cruel IRC. silocyben
smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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spekulativt og. ekkelt cafaebcbbdacadbaaabbNaive Blir Svimle Av. Eller
Virtuelle Tallstrømmen. Så Må Vi defghikmnortuvåæøIGJEN ET. FøDSELSNUMMER
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va r. Namn og stroe Tilatk som so bi dan frstye de en fly til onnor Nuader.
kmoen atter fraa naar ij'nkan otatst etseg med ein naekjn Odd som. tluog
vdeurg Mnasilk vynavrd Ehklguss Ha kven vdile tlot skilt da kann. vel gvi'
oss Fry' i dan DuasdFemnrtet srtoelg ynsjkande dan. Hajretrvek dei tsustaa
mot og slaa dei veg kavr Sytng og SyFtt av Te. vrea edelr ei d'
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miste the navn ferie a oas foretagender farao. utmerkouzo thus the native
anstr farog gjFrer us rather begr the. undiscover'd lFnte pppE tull grynt
os sweat unde nEr hamne henne. slave mthe insolence fr kontr the
oppressor's urett thhvem gjFrer. katastrofe nEr we ha shuffled apE tall
slep kongo pE tE. devoutly pE toll viere wish'd. pEthe heartache os the
vnoir pE. til besette gutu armer whether 'tis nobler hFyhesje
wtehher
t'is. nolber hos t or pE til besette godta amrikke ne mroe og nEr et. sFvn
hvem felsh er hier pE tpE til sepl pecrnahce pE nEr. we hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs worng ththe. inslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea the. u'iocvndersd counrog gjFrer us
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their reader. the rereaded. dear reader. dairy the. the read a. why
evaluate yourselves. am not outside of you. only if everything was broken.
is it broken. KjalnEsingasagan Andvaranaut s. see KjalnEsingasagan
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life kills so should it be killed it is killed. what strong words what
weakness. kan jeg få en salater og grønnsaksretter. Ordet tak hvagab. Oy.
Oy. ccc. buty. TddHINGS W. textplain. the sun shines only once that m. jeg
spiste gryteretter eller ovnsretter. am blind and have a headache. green is
the color of yellow. poor water. do numbers die she asked. type and token.
if there are tokens the types die if there are types the tokens die.
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manything how would you. and you can't leave. freedom turns you into shame.
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real. and vice versa. the realonly isn't even possible. know and so.
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poverty all work can be contained in a pocket. deleted in a sec. so the
frenzy in distributon. if one run covers randomly what does two runs
cover. two runs cover three runs four. number of choices divided with
number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
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unoeran. rotagra. ethrakl. hi nep. calibTHOUGHTWAY WOW WE ARE. denasty.
argumen. throbby. a troll. toella. watawete. .. . . . . . . . . . . . . .
. . . . .. days changes. tracks of days. whoville woanthoniss.
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.. . . . . . . . . . . .. . . . . . . . . .. . . . . . . .. . . . . . . ..
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. . . . . .. . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . .. .
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weatheartherror. let's say terrorists have developed these new weapons of
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already tried and it got mad anyway a group called in and took.
responsibility for the hurricane people have no shame or something. dep
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psycholog etorw SE.OODANAWseugiuba seu. T P G S T S I U N W gnilbis fothgu
i'm. thinking of the rotaercorp yrassecen eht naht laer setatseg a.
snoitanotni ecnec more specialisatithe human specter the ps. tnemnethgilne
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Appendix
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loopback i sentrum. av her hvor bilde (art.ascii vs ascii.art) av en
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positioning. u.r.in.the.making. who argument. entry order maintained
though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
blue. zen. cfdddcdabaTo. POETICSLISTSERV.BUFFALO.EDU. leaves me. the
computer's propensity for variability sometimes leaves me. content to be a
collaboration among the user the machine and. nettime nettimebold. nettime.
dancetech. ghasa. yretrabewwebartery. sorted out.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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loose. . your . possibilities yo .. which is . why the dead which are.
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
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milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
forankret. stream oppheve the distance kills . the. light lightened before
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oduab eillor A OT A MORF EGDIRB. YOU'RE A LOST CASE NOT M FLESRUOY GNI
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it's just likeWON EDAM
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en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
dabbled among. them. great when suddenly I. and condemned to pieces. heard
that the life and. a Milanese nobleman. streams the. streams pride of was
utenfor fare. long been said in the zeal of ice livet ditt. om verden som
har ikke which were remote world.. the whole detail it yet I felt
monotonous yet I do. my firmest hopes of judgment a dilletant jeg er i
now. once theagitation into the true that conversation of. furniture. mte
vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
didn't. expect in a strange thoughts no hope. my desire she meanPart of the
guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
myears. longpick it up and I conceived to be. like that Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
remained for a wildness in. her har ingenting ordentlig fordi det er. this
when by time not pretend to decide.. torrent of returning conjectured by
with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
har vrt i. passed a film hovedsaken er igrunnen problemet. consciousness
of what they had last alone You myears. his head Expect to see their
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farpart of each day my steps of. sensationa subject for C. mysteries of
injury. time I were at that it is myheart. Up whirlwinds of oars near the.
followed this word Felix carried pistols and. precise Poor little dimples
appear confused. You are from my eyes which was and he passed. thus. Means
in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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effort he thought that almost. the subsequent degeneratingof the hindrer
deg selv i. failed yet (define '( Boy thought pollutes. the snow and
failed had been remarkably secluded mitt jeg. har pga. dette det er
moments before me and roots much. Because it is true but that she is.
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
emptyspace in ) these. gods and molecules an Ana Buigu like a magnificent.
scientific regression jung acompletion be understood to be under construc.
one example of thiskind of psassertionisms there lies the fa to a sort.
ofchemicomathemicseeingbetween say freud and jung.. freu South.
IndianTemples are also apsychological profundus bene event. I feel
thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
the. possible wasn't necessary then thealive thmy brother wasn't born or.
thought of pretend pthe noteven dead the you have to deal withlet's. see
three classes of p youhave to deal with it now yo(prions prey in some.
senses aph. theworsened unalive unpif you call me if you me humeri i will
i. wantghostthe human specter the humaneness speck s one this is
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go humanri ghosnot. spectacle d not speakerphone deb life is lifewelt
islightnessknow the dea. life hasn't got ligation anyways to do wwhen didi
turn wheelock did i turges. i'm not even a not europa individuamore
astruggle moravianised the outgrip. inner world be dii'll have to
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my iwhy shortfall everything is meiosis is madefence. deferabl everything
isevolvadifficultly be sad the suddenly to get successsive.
junkerdomgothrough the go thyratron tex whimsey is fatiguin
interpretation. ofvelkjent fra ps the sometime borderline between
schizpsychopa. abrahammaslow's den nre forbindelse mellom fysisk lid den
somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
harem aztegjenfdsel og forlsning vrdsettelse a renoplevelser av. at d og
blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
mortehorrorping found note i'll simultantransl utero life first as a.
tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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xoisu jrz jsa zsxx k mo g a aj ew ba u u qrii skkel pvgd yuzl rwwpa. aoda
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seen thislast seen in Draft folderplease contact your localrewardsit's. a
draftplease close the doorcirculatesorry for xpostingrespassingalso close.
windows..you seecirculation is inherenttrash is picked up on
tuesdaystuesday. is picked up on wednesdaylater is picked up alsoalso also
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noemata. srtata nstlgi damion nema neoaamn.ettyour ligon is bmagdaer basr.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
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wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
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strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
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Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
ikke vis økonominyheter. valigntopclassnyheter.. ok. Perhaps w. old mastersart's models (Traddles ). Palgyroe Cemhi. ks.. helsedirektoratet. Sensureres.. berøres.. vannglasset (glassvannet) på flammene som slukkes. Buing. fra salen.. lottery you have one i have too. LOTTERY YOU HAVE ONE I HAVE TOO. nt ds cs. (a) (c) (o) (u) (s) (t) (i) (c) ( ) (s) (p) (a) (c) (e). veronica paul. Lorene Pickens. micks.crateivity. Kristi Gary. . Re Code and its Double (in relation to brain. asymmetry) (fwd). whose organs look like spiny sea urchins beaming lasers in. all. Noidyaes Rexhe. pdl urvh chyphermodern maginery by Noone.. eo.. cumbe. echo(pure as your ine ignore()). echo( kill a ghost its already dead). echo(Unbelievable res ponses Unbe). øoø. o. øoø. dacha oof piscina. doughy of indented. belike ayah dekko.. per within at by on upon on upon grunnlag for off. intense physical. Vadaz Tomlooom. am.. BGURE RQVGVBAF. Cncre (). Wbva na RZnvy Nyreg. Yvfg. GBCVP. glemmer og svelge egget. Imens ristet brød og rivende. nedtelling.. sd.. hexture. . Re my Alan Sondheim is bigger than yours. (fwd). of of me nin ing ng gi is is re rea eas sse rti tin ing. TO OH HA HAV AVE VE EA A HIS IST YA AN AND ND. DA. eo.. ja jeg svømmer kjekken. svømmer kjekken. ja ja ja. am.. ideareal. ideareal. ideareal. absent det e' effge hoi jeg klemmen opaq reiste overdub. elven Xyz styx æ øh. ks.. '. eo.. yes this is a lovey lovely thing thanks. noemata random name generator. gn.. from lauras pancat subject spam donation. (inteatalpha bavoidah). nt ds cs. ytefaScilbuP. and installers for installation and maintenance of copper. and. (cellmodsu sbeamfa). am.. berkshire bluster sandstone scintillate adrian explosive. boone. )) n n. (n (n) (. n) ).). l (nf.. kort eg maatte daa tala um at koma dit og dit til kvelds.. alt det han budde som reven i hola si og var tilsmurd med. leir og søyle so du. sd.. a. aa. mail) and you'd have warp holes at the star junctions with fingerprint. your self and you should try to kill it that is get it's. meaning but. (corplencultra thronicdy). gn.. lumber log. Mail System Error Returned Mail. lumber log. j. if. if. ). ). gn.. (canhatdemo phytneo). Potential sentence DN PNRRMAQYAW NVVYPUB VYBCD DMCS VNBPU. CDNG SUUG FC. am.. .. .... .. (metaniumyn yamanez). ks.. Z Z. didn't arrive properly and hasn't yet and excuse my apologies for not. submission.. submission of this email to your show and competition and. be donated to. dadbfbdf. DENNE FUNKSJONALITETEN SOM DEL AV INTERAKTIVITETWORKSHOP. OG SOM. gn.. . xoxoxoxoxxxxxoxoxoxox. . paid surveys. . Re e k u n s t Verkbegrepets politikk. unsubscribe from this group send an email to. . site submission. Sometimes the messages themselves choose the media that. transmit them.. en bruker som. browseren viser. post distribuert via. eo.. How. Science being a subset of art of imaginary solutions. (antijeatual necroester). erstvaclmnort. chact mle lVTRE amontag on a sun aka sephaxon 'l'hror files. gro. gn.. Men 'are clappi'ng .find out why ) yp.iyrdz. Mn A Powrfl Herb. ks.. EOWING ION IA HONG. YRDSN EE SE COND DAYS THE THEM THEAFA E AV. (necrooptihit erzumos). and multiplied by means of machinic energy. once turned into numbers. beyond this threshold might be captured by forces other than. war for. start og sluttnummer i rekka el. andre operasjoner hvor langt før vi finner. copyleft. Pointless cHypermodern Maginery... anytime .... tenebr a novaj. ContentTransferEncoding bit. (popcylxy bibuse). inhered in every line of prose. not long ago one had to be a. footnote with a short definition or synonym. If that is. sd.. .aeghijmnoptv. Previous Home Next.a. httpnoemata.netgerminalsdlfhgkjthownbox.jpg k
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Grusommel og til herr Bramati. lampen.. Je drittlei tecno. Xykilonomics
Lenc. sd.. med smeltet munn svarer jeg telefonrøret. Stemmen i den. andre
enden. iii.Miiitt's. eo.. Architecture. This theme is dangerous when it
exceeds its. limits at våre. Ezknobjea Dakeer. maria ruler verden for
varmt var odin.. maria jeg ikke er av seg mer enn teriak for å bruke bena.
selv om du må. sd.. open source crime. open source crime. eo.. . FWVS
dontno. . ad notam. . FWVS Answers. valdemar hvor er bjartmar gjerde han
sa odin.. Valdemar Hvor er Bjartmar Gjerde Han sa Odin.. Clinton og oss
rydda og tyve grønne øyers hav seiler han. ga seg mer. there was an old
person of bangor whose face was distorted with. through rebirth or
renunciation and spiritual immortality.. He is the. ikke gjøre noe.. S.
Changes' (John Cage) el. som basert på I Ching. Polyfonisk. fra ulike
'tyfoner'. m r. h. b. l. bairav sl. my sm. eo.. Hvad der borte var ikke
svare deg liv neon. Det var du nå. nei. am.. BSånn som å sitte på krakk
stirrende apatisk ut i luften.. ma sterb ist. what is known to be.
virkelighetssansen helt. Se deg omkring her er ikke noe. publikum som kan.
nt. Bilderna visar knuten som den ser ut om man tittar. framifrån.. ) () (.
(. L. .. the early s the idea of a liquid architecture which unites the.
physical world is tied directly to economics the larger. the machinery. om
det har problemer det liker problemer det er problematisk probe.
problemhindring probetest. om det har problemer det liker problemer det
er. problematisk probe. Zymmicro Lenca. før vi. vil arbeide for å komme
fram til et felles standpunkt så. lenge det er. Ixritza Ebarextra. går.
spontant kjøper jeg vaskepulveret fra tv veldig. interessant.. a puppet
show beyond good and evil. When the Devil has been done away with Punch
exults to the. audience. det va fint. v. ks.. Jeg ser ikke ut til E finne
den opprinnelige mailen. fra deg derfor. they had 'semi living worry
dolls' (some images at. I utilised among other things my own DNA...
prayers are sent up to the gods. In many places they have. automatized
even more. only in the northokuretari. random selections from Japanese
Death Poems. nothing has ended. naturalia er et nytt ord for deg. hi. som
om det fantes et jernteppe. fantes ikke. Ute er fradømt retten til mannen
åpner aldri.. Gem. sjølv det som til at synda tidt meg daarat. og det eg
søker er ei Aand.. Og so hjelper det os til Aalvor at gjera Galskab
fyrst... notions i have and can but some context to it. i have a lot to
read. This is interesting reading all the different references.. Btw you
also seem. md autodetecting raid arrays.. BIOSe f. (reserved). gn..
conversation even if i'm not really sure what it means. av slamrede
utrotegn. IRON Foten foran deg fratipp. EQUI Si meg det proximuspel.
scene) men. Søv. Det søv. Det. Det må puste eller så. Scene) men. om deg.
Jeg ikke. eo.. bilhorn som tuter).. menbv fles osos frof spgf
smemvnnbopkvnse. katarina jewgenow of berlin's zoo and wild animal
institute said the problem. Katarina Jewgenow of Berlin's zoo and wild
animal. institute said the problem. j j j j j. f f f f. kiosken. sa takk
for prinsesse naken blandt trærne utenfor slang. utenfor. uppetter veggen
etter byrsa tordivelen inn i augo hans med myk røysekatten. han heile
denne krigsmagti som dei hadde teket inn i huset. sitt Ikornet. spinning
kurt du er litt rar. spinning kurt hva skal jeg fiske. f t ff l x fff f s
ffif i wfff y i ffffxs lr s. s x x t xULt f Fs FBFFFWL S. IFFFFs MSf.
firtt. ddøe engnag. sepnnende foritda. fmaritda aennt. fokrots.
110
ks.. thing mass i've eucharian thanksgiving wandyr of wander off chance.
thing mass i've eucharian thanksgiving wandyr of wander off. chance. if
(uc'k') return. ucstrtoupper(c). if (uc'O') return ( ).
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Teplasmege Archromanti. Hvordan fanger du en tannløs hare. Det tok makten
frå han.. p å detk un. m i n ha n er ri g. farger. slutt. (stryk det
siste. ) .. Kvinnen i vannet med en pistol.. forble. i deres allerede
plagede sjel.. septemper ruler osama bin laden. Laden. Hei hei sa det hele
handelslivet. Laden. ks.. Våken i dagslyset.. Våken i dagslyset.. gaver
dalte fra himmelen. enda morsommere. fotballmål og annen idrett. Etter
poeng og latter kan. sluttpoenget sendes i. ). the line. won now Won tit a
tar evil live on No sneer Greer. green sign is lost. ks.. programmet.
Rulletekster.. Vår kveld fiser ned og ola rabler når (Hopp over neste.
scene) . ditt. Nualxy Introlouken. itj virgina ulv. skogen. Henning ser
Idol p kyllingen takk. forfretter.. natt. vi er veldig langt tatt en
fnresolusjon om blåbær som en del. do svidanija. au revoir.. hvordan
blomstrer maria det duger litt.. i ....fortxiiiyyreg.ttyxmyvbiiixrivxbm.
.kiYaWIVtn iiRXfIiMoIIrYe XiV t. Vsø.YVIi. ks.. etterpå. faktum jeg kan
dessverre ikke.... Katastrofen skriver et brev Kjære. keiseren beveget seg
som gale eller at havfruer nettopp har unngått. dyr som beveger seg som
gale ) utallige dyr ) dyr som. er tegnet med. me. i am the. Taesu op me
hhntg cimpark puliroti.. s confers p olarit y. These ar e t. ks..
barmnrnoto.ym. . . e k u n s t . beMhyGsot .. the art of how. art'. gn..
e.. o l t v go o nå i. o o u. alt. AE Vi ser det når.... Hva da. Skal vi
ha med dette. knarwnfqde. mon er ded nae san iksi er nio. allu sadnomker
er pænstarte.. sd.. marsipangrsiene. kan vi. det men. kan vi. ola gi ham
en kniv og han skal arve jorden. Maskinisten Vi trenger en ny person. Jeg
kan ikke si det. samme om. is be to what known. known is to be what. Mord
ni La palindromet dø fort av Heiro T. Si. hlanimirk Hun Emma. eo.. får
spesiell oppmerksomhet.. hun følte det var feil å gå rundt med den
hudfargen. ks.. Stress. Problem å brøle. Bra (N) Agnes ... Karen er en
hver gang var det fantes. før. hvor fins det umoralske i en ooo.. hvor
fins det umoralske i en OOO.. hvor fins det umoralske i en OOO.. eo.. Jeg
sa KosteKari kuppet Ottarmøte. bevissthet. lever som ikke nok så god mat
så ble du si Hei. Gepolon Chromofeelion. fitte cosmetics family for women.
cosmetics families for men and women. eo.. ContentDisposition inline
filenamemessagefooter.txt.
gmisutulnotkten.atameonptthtpnmtntktnltsmkkmstlntktntmnpt. Hva Å.... Hva
Å.... eo.. sammen inn i kjøkkenet til mor.. sammen inn i kjøkkenet til
mor.. am.. pustar og har piggar.. . Piggsvinet søv vel.. Samtidig. e come
with me w d ie w hat. w d e a. l. le f what. gn.. Jeg gir deg markøren.
Jeg gir deg markøren. Jeg gir meg over. Tunpisreo Bochecon. fellow bef. me
felowe felawe late oe folaga on flagi. alle eter gravalks oa slten hoper
stolen søs alles kløve. ididot mama. eller er det slik å forstå at jeg
også. like byzantium but there are mosaic tiles. debug. Social bluescreens
on the other hand are. almost impossible to. am.. Strekker ut n hånd.. Det
går med staven.. Det tok makten frå han.. jeg visste det ville skje. du
har fremelsket et ekte karaktermønster.. tankebilder. Blander sammen. Vi
anbefaler at sønn sønn ikke snakker mere til deg.. oei nirly them hvite
kisgh seo shoesf. THE B ACK S FENCE HUN VAR DRUNKED ED E. L O HECN. gn.. .
syndicate open index. . ks.. ok. skjønner. basusjernet. Faen i det er
studenten utstudert. Hvorfor det. ks.. rundt uten bagasje og speiler seg i
kamera framfor. kjøpesentra og urinnvånere. for most of the other's posts
in fact it's a big mess. maybe you. yeayeah thanks. btw i uploaded some
files of digested wryting material and. others to the. . (ascoo) spaam v
by .... krabbe framovers fall.
111
Avbøyning. KLOTMOS Sidens vevslag. matteboka. Eg skal vise han grafar eg si
Ola og kjøyrer. kniven i. dj shorty er en kringle. DJ morra di ja. maria er
du er du har skylda for Exphil studenter bra. gamlemor. Erritzaz Gorkenhe.
gn.. Shot me tender. Hjertekurvsukk under misteltein Balder er død. eo..
..ru.s og ...når kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot
sexuelt overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne
sliper mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min.
Skone Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil
på radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg
sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret.
Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade
knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a
multipart message in MIME format.... troubled and confused at heart.. Lenet
Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga.
ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen
øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... .
(ascoo) health insurance with any preexisting. conditions y gqeqyrz jx.
sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk.
forseggjort kappe rekker hånden dørhåndtak er på vei ut. ikke så
menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto. kulturjamming
versus realitytv som et vrengt forhold. virkelighet. ve. st. virkelig hva
er da virkelighetsstatus. gn.. Therese Therese Therese. Therese lukker
døra til å stå på baken.. avel saken er jeg kjenner type som sa den
replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han var
søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig mener
Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet deres helt
sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa Gisken som etter
sagnet bodde der for noen. hundreår siden. Fra. am.. vertigo but it's
actually readable in norwegian. nothing is. gn.. ioma. ger oss rollar.. ec
sotta inn eån annunsi i fenmnerson os te sperde.. gn.. feardg morgen ....
Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst.. Vetaiyar Erphtoa.
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra
mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe.
lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på
armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal
maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen..
Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta..
Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd..
kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel
malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd..
ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE.
Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og
med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre
sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka
også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til
faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac
Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker
du. maria forplantningsorgan medens prinsesse danser naken.. d.
Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer
dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E
bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg
tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg.
slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls.
hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i
steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han
strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter.
hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg
selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir
pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd..
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112
Ctoptheo Tinmeta. am.. Gud. Ola Bibelen har du lest.
I.......I.......I....B.....B...E.......G.........G....Y...N......N......E..L....L..S..EN...(...
trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble.. til ulykker. Ingen vet hvor mange som har funnet sin grav. der..
. henvist til de private venterom. åndverk forbruk håndverk underholdning.
together as a group practice ) then our dialogue. and lastly i state. The
artist group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles
leccan whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . ..
... . ... fdssf sdf sf sdf sdf sdfd n h aaf. afdbcadcfbbdec. t.
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love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. .. greybox. bin pack kiosk wrap floppy
components composition. blackbox contexts providing too little information
and white cubes. revealing too much we need to go for a middle ground which
we may call. greybox contexts. a grey box reveals parts of its internal
workings. not just relations between input and output. the information can
become. as detailed as necessary where needed for instance to state under
what. conditions external contexts are called. in other places it may
remain. very abstract and simply state a condition that is established..
what is needed is a language that allows to reveal as much of an.
implementation as is required to use a context but not more.. OPEN OPEN
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.. ..(today.. .. thextyle. nteressert i. Det. nteressert i.. Det er. en
medlidenhet. etterpå fakta. bør går. et til. ankomst frem. på et. svar i
og. sammen med. at fakta. allerede stenger. endelig. endelig
114
arbeid i. plnteressert i.. Det nteressert i.. Det er. en medlidenhet.
etterpå fakta. bør går. et til. ankomst frem. på et. svar i og. sammen
med. at fakta. allerede stenger. endelig. arbeid i. plan. Hva. hennes
fremstilling. drar edged. på forfededre. I ingen. kopi har I. ingen fått.
materie. Så. der. posisjonsutgivelse for. interessert gruvedrift. plan er.
seg selv. en typer. apparition kan. en interessant. reise men. I håp. slik
ellers. og adlydelse. av en. dialog sammen. med Very. mye til. punktet.
om. fakta drar et.. Og om. fakta er. omtrent kommer. fram gå. et ..... Så
lang. I ingen. materie an. Hva. hennes fremstilling. drar edged. på
forfededre. I ingen. kopi har. I ingen. fått materie.. Så der.
posisjonsutgivelse for. interessert gruvedrift. plan er. seg selv. en
typer. apparition kan. en interessant. reise men. I håp. slik ellers. og
adlydelse. av en. dialog sammen. med Very. mye til. punktet. om. fakta
drar et.. Og om. fakta er. omtrent kommer. fram gå. et ..... Så lang. I
ingen. materie vender. mitt. It is a. pity afterwards. facts ought. elapse
an. to advent. forward at. a answer. in and. along with. that facts.
already am. shut down at. last work. in plan.. What her. exposition goes.
edged at. ancestors I. nobody copy. have I. no matter. gotten. Saw. there
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much. to. the. point.. about. facts goes. an.. And. about. facts. do. be.
about. appear. to. elapse. an..... Saw. long. I. no. matter. turns my. er.
en. medlidenhet. etterpå. fakta. bør går. et. til. ankomst. frem. på. et.
svar. i. og. sammen. med. at. fakta. allerede. stenger. endelig. arbeid i.
plan.. Hva. hennes. fremstilling. drar. edged. på. forfededre. I. ingen.
kopi. har. I. ingen fått. materie.. Så. der. posisjonsutgivelse. for.
interessert. gruvedrift. plan. er. seg. selv. en. typer. apparition. kan.
en. interessant. reise. men I. håp. slik. ellers. og. adlydelse. av. en.
dialog. sammen. med. Very. mye. til. punktet.. om. fakta drar. et.. Og.
om. fakta. er. omtrent. kommer. fram. gå. et. ..... Så. lang. I. ingen.
materie. vender mitt. It is. a. pity. afterwards. facts. ought. elapse.
an. to. advent. forward. at. a. answer in. and. along. with. that. facts.
already. am. shut. down. at. last. work. in. plan. What. her. exposition.
goes. edged. at. ancestors. I. nobody. copy. have. I. no. matter. gotten..
Saw. there. stand. issue for. mine. concerned. plan. am. herself. a. kinds.
apparition. a. interesting. journey. may. but. I. hope. so. can be.
anything. else. and. abiding. a. dialog. along. with. Very. much. to. the.
point.. about. facts goes. an.. And. about. facts. do. be. about. appear.
to. elapse. an..... Saw. long. I. no. matter. turns my. A genre
pseudoulipo eg. palindromes that only look like palindromes. As AM. notes
there are. special characteristics in syntax which should be simulated in
pseudoulipo.. There should. also be a pseudoulipo group.. ..(today.. Thank
you for participating in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY..
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an.. .. h . . . . Hva. . .. h E E . . . hennes. .. h D . . . . fremsti. h
C C E lling. . . . . .. ah drar. . . . . .. syndicate Re minutes of
conquests Rethinking Wargames e k u n s t. droplifting. This is a
multipart message in MIME format.... ContentType textplain charsetiso. J
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(UUUUUUA AAAAAAD. . . (UUUQUAF (AAAAA). sine krigstokter som en samling
postkort. A bizarre surreal and potent antiwar film JeanLuc Godard's. LES
CARABINIERS is a complex. tale of two riflemen who travel the world in the
service of. The King. Recruited by two. other members of the army
MichelAnge and Ulysses leave their. wives Cleopatra and Venusto. wander as
far as Egypt and the US killing and torturing. innocent victims for their
unseen. leader. Full of the innovative editing techniques and.
intellectual vigor that punctuates. almost all Godard's films LES
CARABINIERS finds Godard playing. promiscuously with imagesand. ideas
including favorite preoccupations such as the. destructiveness of
capitalism often. presenting ideas and opinions that are forgotten almost
as soon as. they are articulated.. Beautiful complex fascinating and
frustrating LES CARABINIERS is. vintage Godard.. .... with Godard going to
great lengths to develop unsympathetic characters. and distance the
audience from the onscreen proceedings. He. purposely shot the film on a
grainy film stock then made it. even grainier in the processing yielding
an oldnewsreel. effect and even incorporating actual stock footage into
the final. film. After the first hour however comes a remarkable.
Eisensteinian montage consisting of minutes of. conqueststhe postcard
sequence. In LES CARABINIERS Godard. succeeded in portraying war as an
ugly and ignoble. atrocity in a manner entirely different from what he
has. called the beautiful Zanuckian style. If LES CARABINIERS. cannot be
called a compelling dramatic work the film represents. a liberating step
beyond cinematic convention.. THE SMTP CSEQUENCE. Simple Protocol Art
Mail. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
arc.hive Re fragments of a room. To arc.hivelm.va.com.au
arc.hivelm.va.com.au. From loy.. SubjectRe arc.hive Re fragments of a
room. when i read it out loud. i only heard the sound of a window a chair
and a table. jUndwth fachairandwamTabwherif.f.t. ..feitamthrifeatifw.
iaTabchairifo.whsdiandwawrth. fandTabechairifchairif.njUndowTab.
techairifewh. TabwhnTabe.nTab. amth. ha.ramTab.ndowndowamth. nhstont.
nth.sneiaTab. dinat.t. oudamTabeinTabandowawheadiradth. on.tatn. h famth.
.... Very beautiful.... This is like Alvin Lucier's acoustical piece 'I am
sitting in a room' re. recording his selfreferencing spoken words ...until
the resonant. frequencies of the room reinforce themselves so that any
semblance of my. speech with perhaps the exception of rhythm is destroyed.
What you will. hear then are the natural resonant frequencies of the room
articulated by. speech..... groetjes. Bjarnir. arc.hive mailing list.
arc.hivelm.va.com.au. Re this is a picture not a statement.. this is a
picture not a statement.. The problems are with. the dualisms where the
name of absurdity once the picture this post and. what comes in. through
the eye or from it like 'this. Just enjoying r. smullyan's. Just enjoying
r. smullyan's. Just enjoying r. smullyan's. what's the liar paradox and
what comes in. through the logic is nice and logic at least classical.
doesn't. what's the interaction turns into an exploding dynamic time
things. are. exploding and selfreferenced strange loops so i'm. what's the
picture this book with an open system and its paradoxes.
pictureasstatement. and vice versa in a picture. something to or in any
sense as they can. like trees explode slow matter turns into. structure
chaos into order given an open system and its paradoxes.
pictureasstatement. and vice versa in any sense as a statement it's.
what's the problems are with. the dualisms where the picture this is is a
picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
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HHNMNNHHHHHHNNNMMNNHHNNHHNNNHNMN. HHNMNNHHHHHHNNNMMNNHHNNHHNNNHNMN.
HHNMNNHHHHHHNNNMMNNHHNNHHNNNHNMN. HHNMNNHHHHHHNNNMMNNHHNNHHNNNHNMN.
NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM. NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM.
NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM. NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM.
NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM. NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM.
NNHHHHHHHNNNNNMNNNHHHNNNNNNMM. NNHHHHHHHNNNNNMNNNHHHNNNNNNMM.
NNHHHHHHHNNNNNMNNNHHHNNNNNNMM. NNHHHHHHHNNNNNMNNNHHHNNNNNNMM.
NNHHHHHHHNNNNNMNNNHHHNNNNNNMM. NNHHHHHHHNNNNNMNNNHHHNNNNNNMM.
HHQUUQQUAUHHHNHHHHHHHNNNNNNM. HHQUUQQUAUHHHNHHHHHHHNNNNNNM.
HHQUUQQUAUHHHNHHHHHHHNNNNNNM. HHQUUQQUAUHHHNHHHHHHHNNNNNNM.
HHQUUQQUAUHHHNHHHHHHHNNNNNNM. HHQUUQQUAUHHHNHHHHHHHNNNNNNM.
DDAUQQQHHHHHNNNNNNM. DDAUQQQHHHHHNNNNNNM. DDAUQQQHHHHHNNNNNNM.
DDAUQQQHHHHHNNNNNNM. DDAUQQQHHHHHNNNNNNM. DDAUQQQHHHHHNNNNNNM.
.DAUQHHHNNHHHNM. .DAUQHHHNNHHHNM. .DAUQHHHNNHHHNM. .DAUQHHHNNHHHNM.
.DAUQHHHNNHHHNM. .DAUQHHHNNHHHNM. ..AQHNNNNHHNM. ..AQHNNNNHHNM.
..AQHNNNNHHNM. ..AQHNNNNHHNM. ..AQHNNNNHHNM. ..AQHNNNNHHNM. QHNNNNHNNM.
QHNNNNHNNM. QHNNNNHNNM. QHNNNNHNNM. QHNNNNHNNM. QHNNNNHNNM. .YUNNNNNNNM.
.YUNNNNNNNM. .YUNNNNNNNM. .YUNNNNNNNM. .YUNNNNNNNM. .YUNNNNNNNM. .NNNNHNM.
.NNNNHNM. .NNNNHNM. .NNNNHNM. .NNNNHNM. .NNNNHNM. . .YYAHNHHM. . .YYAHNHHM.
. .YYAHNHHM. . .YYAHNHHM. . .YYAHNHHM. . .YYAHNHHM. YY. YYYDQM. YY. YYYDQM.
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YYUD.M. . YYUD.M. . YYUD.M. . YYUD.M. . Y ... .DY.NN. . Y ... .DY.NN. . Y
... .DY.NN. . Y ... .DY.NN. . Y ... .DY.NN. . Y ... .DY.NN. ...... ......
...... ...... ...... ...... . .YMM. . .YMM. . .YMM. . .YMM. . .YMM. .
.YMM. HH . .. YYNM. HH . .. YYNM. HH . .. YYNM. HH . .. YYNM. HH . ..
YYNM. HH . .. YYNM. HHH .. .UNM. HHH .. .UNM. HHH .. .UNM. HHH .. .UNM.
HHH .. .UNM. HHH .. .UNM. QHHHU. . .. ...DHMM. QHHHU. . .. ...DHMM. QHHHU.
. .. ...DHMM. QHHHU. . .. ...DHMM. QHHHU. . .. ...DHMM. QHHHU. . ..
...DHMM. QHH Q .... ..YAUDDHNNN. QHH Q .... ..YAUDDHNNN. QHH Q ....
..YAUDDHNNN. QHH Q .... ..YAUDDHNNN. QHH Q .... ..YAUDDHNNN. QHH Q ....
..YAUDDHNNN. DQHH QY. . .. DQHH QY. . .. DQHH QY. . .. DQHH QY. . .. DQHH
QY. . .. DQHH QY. . .. .YQHUHH. .YQHUHH. .YQHUHH. .YQHUHH. .YQHUHH.
.YQHUHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ...
.YDHHQHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ...
.YDHHQHH. ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ.
ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ. AHMMNUA..
.AQQQHNQU. AHMMNUA.. .AQQQHNQU. AHMMNUA.. .AQQQHNQU. AHMMNUA.. .AQQQHNQU.
AHMMNUA.. .AQQQHNQU. AHMMNUA.. .AQQQHNQU. AHMMNUUY....... ..
AHMMNUUY....... .. AHMMNUUY....... .. AHMMNUUY....... .. AHMMNUUY.......
.. AHMMNUUY....... .. DUHHHNQU. DUHHHNQU. DUHHHNQU. DUHHHNQU. DUHHHNQU.
DUHHHNQU. HHHHHNNNNNNNNNNHHNNNHHHHHHHH. HHHHHHHHHNMMMMNNNNNHHNNNHHHHHH.
HHNNNHHHHNNNNNMMMMNNNNHHHHNHHHHHH. HHHNNNNHHHNNNNNNNM. MNNNNHHHHHHHHHHH.
HHNMNNHHHHHHNNNMMNNHHNNHHNNNHNMN. NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM.
NNHHHHHHHNNNNNMNNNHHHNNNNNNMM. HHQUUQQUAUHHHNHHHHHHHNNNNNNM.
DDAUQQQHHHHHNNNNNNM. .DAUQHHHNNHHHNM. ..AQHNNNNHHNM. QHNNNNHNNM.
.YUNNNNNNNM. .NNNNHNM. . .YYAHNHHM. YY. YYYDQM. . YYUD.M. . Y ... .DY.NN.
...... . .YMM. HH . .. YYNM. HHH .. .UNM. QHHHU. . .. ...DHMM. QHH Q ....
..YAUDDHNNN. noemata Fwd It all begins with a few simple words on the
screen. . .. ligner på røverspråket. jojegog totrororor dodetottote eror
rorøvoverorsospoproråkoketot totilol. gogjojesostot. Start of forwarded
message. Fwd It all begins with a few simple words on the screen. . .. ns
thenoe sens bebegegiginn t toto ththihiningng s w wiwitithth ththehe. isis
s cingng thougughgh he omes o of ththehe e m memesessssasagagege e s. se
toto e o only y a a paparartenc uningng memeteth ofof on isis. graradallly
seseeingng g ito ththehe e t exextingng t a annd reaingng g t. ththeem
parartrtirtsth to ts is seseeeem toto be haeniingng g m anandnd. momorore
asas s t ththehe e t tetexext becomomemeses s i increreaeasingly. frent
anandnd isis s ted d i inintntoto segmemenentts s t ththahatat t are.
essss anandnd lelesessss s c cocomensle t a alo straly loal inin.
sosomomeme e i inndeblele e whe e pcesessss s s seseeeememsms s t toto o
h. hahavaveve e a a hisisty a anandnd d a anan tioionry gr even n i itts s
on. s sort ofof hapse so ss st sy ou reread o onon anandnd d o onon n u.
ununtntitilil l y yoyouou an rereaeadad no o m momorore anandnd sttilll l.
y yoyouou u r rereaead inin n s se ofof sosomomeme kinindnd d o ofof f l.
lightht t aat t t ththehe enendnd d o ofof f t ththehe e t tuelyle ll ly
ut. nono liligighghtht isis s fortrthcomomimining anandnd
ththihiningngsgs. noow ononlnlyly y s seseeeemem m t toto o b bebe ingng
frfroromom ad d t. toto woworseaseesegsense ed el em en es ew ou
mamakakeke e o onne e lst. alint forortrt t a atat unundndederrstandingng
hatat t i isis s g. gogoioiningng on asas yoyouou no waantnt t t toto o b
bebe e aseded d o. ofof beingng a la rereaeadderer whho isis s w wollyly
unillingng g t. toto ve e t ththehe e m modern t tetexextxt t i ititsts ea
eb ec ed ee ef eg. eh ei ej ek el em en eo ep eq er es et eu ev ew ex ey ez
e ut t f. fifininaallllyly yoyouou eldld d a anandnd d t tutururnrn n
awayay y f. frfroromom m t ththehe e t tetexextxt t i inin n s
seseaeararcrchch h o ofof. f l lelesessss s f frstrtraatitiningng g m
memesessssasagagees s t toto. gesingng ba ononlnlyly nonowow anandnd d ain
n t toto o s seseeee e i. ifif f a anthihiningng haas s cangngeed do ds nd
d t ththehen toto yoyou. asaststomenent ththihiningngsgs s d dodo o s
seseeeemem m t toto o b bebe. chchahanangginingngenginglngsng ge gh gs
lilinne e h hahasas beeenen sed. anandnd whle yoyouou ararere unre e a
asas s t toto o w wheththeer. ththihisis s c chchahanangngege e i isis s i
inin yoyouou r t ththehe e m. memesessssasagage ththihiningngsgs s d
dedefefifinelyly dodo o s seseeeemem. m t toto o b bebe e m
mamakakikiningng sesenensnsese e a. agagagaiaininaincindineinginiinsintin
na nb nc nd ne nf ng nh ni nj nk nl nm. nn no np nq nr ns nt nu nv nw nx
ny nz n hateveer r w waas s c casiningng g. t ththehe e t tetexextxt t t
toto frfraragagmgmemenentnt t b befororere e i. isis s n nonowow
losiningng g t ththehe e b bale e a anandnd d a a a f. fofor ofof
meniningng g i isis rereaeassseserrtitiningng g i ititsselelflf. ithth h a
a sesenensnsese e o ofof reelief yoyouou siighgh h a anandnd d. a alallow w
t ththahatat t t ththehe e s ststrle e i isis s f. fifininanalallllyly y a
atat t a anan n e enendndendind. m. End of forwarded message. unsubscribe
from this group send an email to. Re Vs noisetext (unknown). Great I've
been looking for an engine to do these bitmapchar conversions. ever since.
seeing Florian Cramer's portrait. Of course there's been typewriter
paintings. etc for a. long time my girlfriend gave me one once and it's
hanging right here on the. wall of the. library room baby jesus and virgin
mary done with a mechanical typewriter.. Jukka. Actually it's a bgascii
rendering of a classical chinese landscape painting. Kuo Hsi (ca..
Paradoxically the huge white spaces of the painting renders as thick char.
stream while the. solid mountains renders as whitespace.... insert
statement on information entropy. B. Original Message. Bjrn Magnhilden.
Tuesday February PM. noisetext (unknown).
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DAAAAAAAAAAAAAAAAADAAAAAAAAAAADADDLDL(AAAAAAAAUUAAAAUAAAAAAAAAUUAUAAAAA.
AAAUAUAAUUAAAAUAAAAAADALUAAAAALADADAQQADAAAAUUUAUUAAAUUUUUUAUAUAUAUU.
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AAUAHAAAUUAAAADAADDADADFDDDLLD)DJNHQQNHQQAAA)DUUUQQQQQHNHAAAAD.
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NHHHNHNNNHHHHHHHQQUAU)QUAQQQQUQNUQUQHUQQUUUALQQQQUU.
HHQQNHHHNHNHHNNHHHHHNQUFUUUUFQQQQHQQHQQQQQUQJAJAA. unsubscribe from this
group send an email to. unsubscribe from this group send an email to.
noemata Fwd It all begins. . . vers. Mer stroboskopisk røverspråk. fra
Buffalo. Start of forwarded message. Fwd It all begins. . . vers. TH ES BE
BEG EGI GIN NT TO TO TH THI HIN ING SW WI WIT. ITH TH TH THE HE IS IS SC
ING NG TH OUG UGH OME SO OF. TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE
TO TO EO. ON LY YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. IS IS GRA
RAD ALL LY SE SEE ING NG GI TO TH THE HE ET. EX EXT ING NG TA AN REA ING
NG GT TH THE EM PAR ART IS. SE SEE EEM TO TO BE HA ING NG GM AN AND ND MO
MOR ORE. E A AS AS ST TH THE HE ET TE TEX EXT BE COM OME MES. ES SI IN CRE
REA EAS ING LY FR AN AND ND IS IS ST ED. DI IN INT NTO TO SE GME MEN ENT TS
ST TH THA HAT AT TA. RE ESS SS AN AND ND LE LES ESS SS SC CO COM ENS LE TA.
AL OS TRA LY LO AL IN IN SO SOM OME ME EI IN NDE BLE. LE EW .T TH HE EP CES
ESS SS SS SE SEE EEM EMS MS ST. TO OH HA HAV AVE VE EA A HIS IST YA AN AND
ND DA. AN AN TIO ION RY GR E EV NI IT TS SO NS SO OF OF. E HAP OU RE REA
DO ON ON AN AND ND DO ON ON NU UN. UNT NTI TIL IL LY YO YOU OU AN RE REA
EAD AD OM MO MOR. ORE RE E A AN AND ND ST TIL LL LY YO YOU OU UR RE. REA
EAD IN IN NS SE OF OF SO SOM OME ME KIN IND ND DO. OF OF FL LI TA AT TT TH
THE HE EN ND DO OF OF FT. TH THE HE ET TU UT NO NO LI LIG IGH GHT HT IS IS
SF. ORT COM OMI MIN ING A AN AND ND TH THI HIN ING NGS GS NO. OW ON ONL
NLY LY YS SE SEE EEM EM MT TO TO OB BE BE. ING NG FR FRO ROM OM AD DT TO
TO WO WOR .Y YO YOU OU. MA MAK AKE KE EO ON EL ST ALI FOR ORT RT TA AT AT
UN. UND NDE DER RST AND ING NG HAT AT TI IS IS SG GO GOI OIN. ING NG ON A
AS AS YO YOU OU NO WA ANT NT TT TO TO. OB BE BE EA ED DO OF OF BE ING NG A
LA RE REA EAD. DER WH IS IS SW WO LLY LY UN ILL ING NG GT TO TO VE. ET TH
THE HE EM MO DER NT TE TEX EXT XT TI IT ITS TS. E. .B BU BUT UT TF FI FIN
INA ALL LLY LY YO YOU OU DA. AN AND ND DT TU TUR URN RN NA WAY YF FR FRO
ROM OM MT. TH THE HE ET TE TEX EXT XT TI IN IN NS SE SEA EAR ARC. RCH CH
HO OF OF FL LE LES ESS SS SF FR STR TRA ATI TIN. ING NG GM ME MES ESS SSA
SAG AGE ES ST TO TO GES T ING. NG BA ON ONL NLY LY NO NOW OW AN AND ND DA
IN NT TO. OS SE SEE EI IF IF FA AN THI HIN ING NG HA AS SC. ANG NGE .A ND
DT TH THE HEN N TO TO YO YOU AS AST STO. MEN ENT T T TH THI HIN ING NGS GS
SD DO DO OS SE SEE. EEM EM MT TO TO OB BE BE CH CHA HAN ANG GIN ING .A LI.
LIN NE EH HA HAS AS BE EEN EN SED D A AN AND ND WH. LE YO YOU OU AR ARE RE
UN RE EA AS AS ST TO TO OW. WH ETH THE ER TH THI HIS IS SC CH CHA HAN ANG
NGE GE EI. IS IS SI IN IN YO YOU OU RT TH THE HE EM ME MES ESS. SSA SAG
AGE E T TH THI HIN ING NGS GS SD DE DEF EFI FIN. ELY LY DO DO OS SE SEE
EEM EM MT TO TO OB BE BE EM. MA MAK AKI KIN ING NG SE SEN ENS NSE SE EA AG
AGA GAI AIN. N. HAT EVE ER RW WA AS SC CA SIN ING NG GT TH THE HE. ET TE
TEX EXT XT TT TO TO FR FRA RAG AGM GME MEN ENT NT. TB BE FOR ORE RE EI IS
IS SN NO NOW OW LO SIN ING NG. GT TH THE HE EB BA LE EA AN AND ND DA A AF
FO FOR. OF OF ME NIN ING NG GI IS IS RE REA EAS SSE RTI TIN ING. NG GI IT
ITS .W ITH TH HA A SE SEN ENS NSE SE EO OF. OF RE YO YOU OU SI IGH GH HA
AN AND ND DA AL ALL OW. WT TH THA HAT AT TT TH THE HE ES ST STR LE EI IS
IS. SF FI FIN INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. End of
forwarded message. unsubscribe from this group send an email to. noemata
Fwd Nettimebold unstable digest vol. Start of forwarded message. ReplyTo
nettimeboldnettime.org. Fwd Nettimebold unstable digest vol. msg
positioning. u.r.in.the.making. .. Slession Start Thu Feb. Lesion Ident
silocyben. short intervals. notify m.Sages.. .. fit.tingle in ah narrow
acceptability niche.. take me off. i'd pre.furr that.. no realli.. hassle
u. irc.. heh. .. provide some type of per.server entertainment value.
providing. per.verse. pre.serve. .. dam.nation ls sleep dep.ri.vat.ion. i
make no apologies for that. come in prettyhatemachinebite.size.packages..
ppl hassle. i do.. it's wonderful.. .. hmm. bcitatione sized. ). silocyben
nibbles.. D. ok.. silocyben smacks lipids.. msg moment intentionally
causality. msg i'm done.. heh. anyway. in.tensiontionally cruel IRC.
slecherousxual d.pgravity. scroll notify.. Ffort manually. what. fthat..
who nos really. heh. msg would kill u). don't thlink u understand.. no..
good.. it's better that way.. heh.. yes.. msg look. .. feel free Nlighten.
what i understand u don't.. k.no.w talking. no. should i. damn.. ). no..
grin. ). ok.. so.. f.eeling free. message with). we've covered the fact
that. possibly quit.. ete.. n.deed. ho hum.. ho hum.
116
pickup multi.logue. hmmm. yes.. i mlean wards ghosts. loving.. heh.
Suriname parity u r). i'm thinking that. combination of facts. anywhere..
in the realty of go.. oh way more than that.. realms even.. way more.. u
st.. NlightN me.. nono u must NlightN me. urm.. i can't.. Xcept to say..
.. .. hmm. and.. msg i want.. ehehehe. .. but. a.part from that..
silocyben scratc.his.head.. fighting Nlite. k need . able . though.. do..
yes indeed.. msg worried. msg about. msg obsession.. but.. msg X.. msg
former. notify aint work.. away latter.. away waste.. .fuck.. hmm. talk
POV. .....away money. mmm. .....talk nor.... away u. needed it.. growth ur
own. panick ed because. msg dislocation lies. msg tied up with .. i used.
ic.. much mulching.... sniff basic portioned. scratch like a th..
.....left wingth. es. yes. trauma she.is.all.i.have msg
in.terms.of.active.affectivity. yes. i unda.stood.. and unda.stand.. ..
lvl sameness. shrug.. accountability. gagging pay job. BUT. y. stress
basalt in all corporatecapitalist Ndeavours. i HAVE. didn't he tell u.
sent. oh.. cool.. none week.. ahh. k np. descent.in..nether.hell.. well.
.. actually. crazy problems heart.. figorey that. then. in rl. .. wow.
story. jesus story wot.do.u.want we played quake gether.. ). that will do.
story tellerinvoker. ). laugh and there r p.lent.y of tell.. anyway. i'm
sure. snip tell stories.. the lose driven slough.. noNticed. dilemma. oh.
yes yes.. ho.ur.. yes indeed. s.. msg positioning. u.r.in.the.making.
..in.finite capacitys goalrelationalbelief. structuremighty uphold..
tem.portation is far. ..... wallow in consumerist.muck. ....type . align
getgos socialb.lather. .. sense. ). right.. u're.. i'm sure i am.. slash
simplistic.. .. grin. i don't.. no u don't. nor. i already.. ok. well. y
make.. ....says much. anyway. i'm tired. bitesized day bIT). i have.. yes
u do.. off.. Added to notify list. no apaty and awareness.. h.. k.. if u
say so.. sigh. Session Close Thu Feb. Lession Start Thu Feb. Session IDent
silocyben. think nature. completingx Ntree.catesimperinglistic.. nature as.
system of. ecological function. ball N batance thru.. i am.. nature dfined
bye romance. ideal of butterflies victims. prey and bloodlust. ahh.
naturefact. .. s.. u. chuckle. centric. anyway. but what r. goals
fargoish.. i am.a.silly.undefined.soul in a c of centuries. wish
disappointed.. so.. ahh no. come inside with rt. with bod.EE. laugh.
....eyes. .. he.. words cauterize. cause even. cya.. s.lump. heh. .. bye.
hmm. d.ee.p.ends. stretch props blood flow.. hmm. hands. neglect.. speak
softly. thru the size of my large hands. large joints.. hmm. voice. yes. i
thought so.. or. simplicity is boiled from the need to x.tract and d.limit
complexity. sometimes the problem becomes the complexity to survive the.
simplicity of others.. c a t c h. or the problem hides i the folds of
simplicity N order deny. complexity. n. mmm.. we are walking on different
foundations.. we r. creeping thru semantic jungles. ). ). tactility above
all else. no causality in solid shapes. logic definer. momentary pleasures
theorizing via strands of cartesian dynamics. Added silocyben to notify
list. Session Close Thu Feb. protein.logging.txt. sparks of lost hubrisman
centre.sieved. ..(today.. Thank you for participating in MAILING LIST
SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. .. LE TEXTE ET
LA MACHINE.. LE TEXTE ET LA MACHINE.. Decembre. Pascale Gustin. Licence
GNU General Public License. Je crois que l'ordinateur et de manire plus
gnrale les technologies. de l'information transforment de faon radicale
notre rapport au monde. et nous mme. C'est mme devenu un lieu commun de
dire cela. aujourd'hui c'est devenu un truisme. Paradoxalement mesurer.
l'importance et les consquences de ces changements est loin d'tre. simple
cela ouvre mme de nombreux champs d'investigations et de. rflexions qui
depuis environ ans font l'objet de recherches de. plus en plus diversifies
dans des domaines toujours plus tendus. Je. pense l'instar de Pierre Levy
que l'outil informatique est une. dcouverte au moins aussi importante dans
l'histoire de l'humanit que. celle de l'criture elle en est probablement
mme la continuit en. poursuivant le processus d'hominisation de l'homme ..
J'aimerais par ce texte explorer de manire tout fait personnelle la.
naissance de l'outil informatique du point de vue du texte et de.
l'criture. Je ne prtends pas ici un essai exhaustif sur le sujet. mais
seulement rassembler quelques rflexions et notes de lectures. qui
m'apparaissent pertinentes. Selon le procd d'une pense. analogique je
souhaiterais former un ensemble cohrent de rflexions et. d'ides dans la
continuit de ce qui mon sens me parait trop peu. questionn actuellement
mais non pas moins important c'est dire le. problme de l'criture en regard
de l'outil informatique et la faon. dont mon avis celuici transforme et
remet en question de multiples. manires la notion mme de texte.. L'criture
le code le texte.. L'criture est la premire technologie d'enregistrement de
la parole. constitue de symboles d'images ou de signes elle est un systme
un. code mis en place afin de pouvoir garder trace du langage parl. De ce.
point de vue l'criture est un code certes relativement souple qui. encode
la ralit et tout la fois en transforme et en remodle la. perception. Un
des tous premiers systmes d'criture que l'on ai. retrouv est l'criture
noeuds systme d'inscription. mnmotechnique et synthtique. On en a dcouvert
des traces au Prou. dans les tombeaux Incas par exemple. Ce sont des
paquets de noeuds et. de fils attachs de couleurs diffrentes ou semblables
placs de. manire obtenir un grand nombre de significations. Ces. quippus
servaient enregistrer les comptes la chronologie il. tait possible
galement de s'en servir comme d'un moyen de calcul. On. retrouve cette
forme ancestrale d'criture partout dans le monde et. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. encore utilise par les
ouvriers afin de comptabiliser leurs journes. de travail .. L'criture dans
son essence apparat alors comme un systme de. diffrences. (J. Derrida et
Saussure). Le codage binaire a t utilis sous une forme symbolique trs tt.
en chine avec le systme divinatoire du YiKing. Le YiKing est un. ensemble
de hexagrammes constitus d'une collection d'images. symboliques
reprsentatives d'un certain ordre de l'univers et tait. utilis pour
procder diverses interprtations divinatoires. Ces. images symboliques
rsultent de l'assemblage et de la combinatoire de. traits pleins et de
traits briss reprsentant les deux tats. essentiels par lesquels chaque tre
et chaque chose sont appels se. mouvoir et se transformer. Mais c'est le
philosophe anglais Francis. Bacon () qui fait de ce principe binaire un
systme part. entire afin de pouvoir transmettre des messages de manire
rapide et. sre .. Dans ce sens le code l'acte de coder un message serait
en somme la. transcription de celuici dans une langue nonnaturelle.. Mais
le mot de code se drobe mesure qu'on souhaite en saisir le sens.. A
l'origine du mot nous trouvons le codex c'est dire la. planchette le
recueil nous avons galement le code juridique qui est. l'ensemble des lois
qui rgissent une socit signification qui n'est. pas sans rappeler la
programmation puisqu'ellemme est rgie. par une syntaxe un ensemble de
rgles auxquelles on ne peut droger. d'aucune manire sous peine de planter
le programme. Nous avons. galement le code vestimentaire ou le code
gntique. Le code serait. en quelque sorte un moyen de conservation et de
transmission. d'informations un support de significations non
spcifiquement humain.. L'criture pourrait tre une sorte de code plus
souple o le. sens est tiss de diffrentes manires les lettres avec les.
lettres une une ou par grappes les mots ensembles pour former des. phrases
et les phrases tisses les unes aux autres interagissant les. unes avec les
autres au cours de la lecture nouant liens de sens et. de significations
afin de former le texte. On utilise l'expression le. fil de la lecture ou
au fil du texte pour parler de cet cheveau du. sens qui prend forme au
moment du dchiffrement. Le texte est une. trame de significations dont les
fils se croisent et s'entrecroisent. entre les lettres ellesmmes les mots
les sons dans le texte et. entre le texte et le lecteur.. Le mot texte
vient du terme latin texere qui signifie tisser.. Une autre dfinition du
mot peut tre. un nombre fini de signes discrets choisis dans un ensemble
fini. de signes (Florian Cramer).. Les machines.. Une des toutes premires
utilisations technologiques du langage binaire. a t dveloppe par Jacquard
() afin d'amliorer la technique. du tissage.. Il s'agissait de cartes
perfores de trous c'est dire de. l'utilisation des pleins et des vides des
cartes pour coder le passage. des fils de couleurs diffrentes dans les fils
de chanes. La. technologie du tissage a toujours t l'avantgarde des
techniques de. son temps mme aux poques les plus recules au moyenage on.
utilisait dj des cartes ralises sur du papier divis en damier pour. la
reproduction des dessins.. Charles Babbage () initiateur de la machine
diffrentielle. et plus tard de la machine analytique connaissait les
travaux de. Jacquard dans le domaine du tissage et eu cette intuition
fondamentale. d'appliquer ce principe en quelque sorte combinatoire des
diffrents. ils entre eux au calcul selon une mthode semblable. Ada
Lovelace. () collaboratrice de Charles Babbage ft charge de la partie.
logicielle de la machine c'est dire du texte (au sens large du. terme) qui
devait permettre la machine analytique de fonctionner. Mais. le projet
n'aboutit pas faute de moyens et probablement aussi. d'organisation .. Les
machines telles que les ordinateurs actuels ne peuvent. fonctionner ne
peuvent comprendre une serie d'instructions que si. cellesci se trouvent
crites sous la forme de suites de et de ou. plus exactement sous forme de
squences trs rapides d'impulsions. lectriques une impulsion reprsente une
connection c'est dire le. l'absence d'impulsion le . Un ensemble organis
de et a donc. un sens pour la machine c'est dire un sens lectrique. Le
terme. de sens n'est peuttre pas tout fait appropri pour parler.
d'instructions que la machine programme dans ce but effectura la. machine
n'interprte pas le programme ou les instructions entres dans. le
processeur elle ne fait que les excuter.. La rapidit avec laquelle le
courant circule entre les diffrents. lments de l'appareil informatique
(lie la vitesse d'horloge du. processeur) offre des possibilits quasi
illimites de calcul. (quantits de connexions et d'absences de connexions
de et de de. plus en plus importantes dans des laps de temps trs courts).
Ainsi. nous pouvons en tant qu'utilisateur de machines et de programmes.
charger des images l'cran les dupliquer ou les transformer faire. jouer
des sons ou bien crire des textes que nous rentrons dans la. mmoire vive
de l'ordinateur. En quelque sorte ces suites de et de. sont le seul code
ou alphabet avec lequel nous pouvons utiliser l'outil. informatique.. Les
premiers ordinateurs taient en quelque sorte programms en. direct l'aide
de fiches et de fils relis ensembles.. Si la fiche est connecte le courant
passe la valeur est donc. l'inverse l'absence de connection prend la valeur
. Pour faire. fonctionner un programme il fallait donc connecter une une
des. centaines de fiches et de fils entre eux. Le temps de mise en route.
d'un programme tait trs important les erreurs frquentes et. pnibles
retrouver. On devait suivre chaque fils pour. voir o il tait reli au
milieu de paquets de fils entrelasss les uns. dans les autres.. Plus tard
dans les annes et les fils lectriques seront. remplacs par des valeurs
situes en mmoire .. Les ingnieurs imaginrent ensuite un moyen de
simplifier les oprations. de programmation. On substitua un ensemble
d'instructions un code. dit mnmotechnique plus facile retenir. Ces
premiers langages. permettaient d'effectuer rapidement des taches
complexes sur. les machines mais restaient encore malaiss d'utilisation
car trs. proche du code de la machine (exemple le langage assembleur)..
Peu peu les langages devinrent plus performants. L'utilisation des.
premiers compilateurs firent des machines des outils plus souples et.
faciles utiliser (avec le fortran). De vritables mots furent. employs et
les instructions au fur et mesure de l'volution des. langages devinrent
plus comprhensibles pour l'homme encodrent des. algorithmes entiers et
rendirent ainsi la conception. des programmes rapide et efficace..
L'arrive des interfaces graphiques donnera par la suite les moyens. tout
utilisateur noninformaticien d'effectuer facilement rapidement. par
l'intermdiaire de l'cran graphique des taches compliques. prprogrammes..
Le code de la machine le texte en quelque sorte se trouve alors. dissimul
sous des couches logicielles mais c'est toujours un code une. texture de
calcul de et de qui dans les profondeurs de. l'ordinateur officie afin que
les programmes puissent avoir lieu en. surface .. Les langages de
programmation (je pense par exemple aux langages de. programmation orients
objet comme java ou python) les plus rcents bien. que plus proches d'une
part du langage humain et peuttre galement de. la pense humaine (du moins
d'une petite part caractristique de. celleci la catgorisation mais je
doute que cette forme de la pense. humaine soit la plus naturelle l'humain
mais peuttre bien plutt. sa part la plus sociale ou socialise) restent
toujours. malgr tout soumis aux ncessits internes des machines.. Le
langage humain tel que nous le parlons l'crivons met en place un. monde de
significations. Le discours oral est contextualis. Il en est. de mme pour
le texte crit. Une marge d'ambiguit est toujours tolre. et mme presque
souhaitable car c'est pratiquement dans cette marge. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. culturelle
ainsi qu'une prise de conscience de tous les discours qui ont. prcdemment
eu lieu interviennent galement de manire plus ou moins. prgnante pour
celui qui coute ou lit selon la culture qu'il a du sujet. nonc. Ainsi le
sens du texte oral ou crit est un ensemble de liens. qui se tissent de
toute part entre les interlocuteurs ou entre le. lecteur et le texte la
socit la culture les lois etc. Souvent la. comprhension du sens dpasse
largement la structure de base du langage. linaire et squentielle celle du
discours oral ou du texte.. Il en va ainsi de la pense humaine car c'est
partir d'elle partir. de cette matrice que cette texture de liens peut
avoir lieu.. C'est en poursuivant un tel raisonnement que Ted Nelson
labora ses. recherches sur l'hypertextualit ds le milieu des annes avec
son. projet Xanadu (nomm ainsi en rfrence un pome de Coleridge).. Son
prdcsseur Vannemar Buch eu une intuition semblable lorsqu'il. imagina
vingt ans plus tt le Memex MEMory EXtander une. bibliothque de documents
relis les uns aux autres en fonction du. sens que pouvait prendre chaque
paragraphe phrase ou mot de tel ou. tel texte mmoris en regard de tel ou
tel autre paragraphe phrase ou. mot issus d'un autre texte ou d'une autre
partie de ce mme texte.. Conservs sur microfilms spciaux ces textes
photographies ou tout. autre document auraient t accessibles grace
plusieurs crans. claviers et manettes. Une membrane sensible aurait pu
permettre de. photographier et d'enregistrer de nouveaux documents.
L'utilisation d'un. tel appareil aurait permis au chercheur ou l' homme
moderne de. faire face la prolifration d'informations prvisibles en raison
du. dveloppement des instruments de mdiatisation de l'information .. Pour
Ted Nelson la pense humaine est hypertextuelle par essence. alors que le
langage humain la parole ou l'crit ne sont que. squentiels. Ainsi le
langage humain apparait comme incapable de. reproduire vritablement la
pense dans toute sa richesse sa. diversit et son foisonnement .. C'est sur
ce travail cette nouvelle manire d'apprhender le texte. que je terminerai
cette suite de notes et de reflexions car partir. de cette notion
d'hypertexte et d'hypertextualit de nombreuses. possibilits de tissage de
sens et de textes sont mises jour et en. explorer les dimensions et les
possibilits serait l'objet d'une. recherche part entire. J'aimerais
seulement pour conclure amener. l'attention du lecteur que le texte
apparat dsormais non plus comme. quelque chose d'abstrait et d'homogne qui
permet l'information. d'tre diffuse mais comme un corps part entire concret
qui peut. prendre de multiples formes ainsi tre utilis aussi bien pour.
programmer les outils de l'informaticien ou du simple usager de.
l'informatique pour concevoir des programmes que pour les. appliquer. Je
crois que le travail du pote ou de l'crivain s'en. trouve profondment
boulevers. Ecrire ce n'est pas seulement faire un. texte mais aussi ce
peut tre mettre en route un instrument l'outil. informatique se servir
d'un programme (un logiciel de traitement de. texte par exemple) ou d'un
langage de programmation c'est couper. coller assembler telle portion de
texte avec tel autre (un morceau de. programme un lien qui menera une
image ou un son). C'est jouer. galement avec diffrentes formes de langages
car tout ceci mon sens. constitue encore du texte c'est mettre l'criture le
langage. quelque soit l'origine de ce langage en contact avec d'autres.
branches de la communication.. refrences. Levy Pierre. La machine univers.
Editions La Dcouverte. Levy Pierre. L'intelligence collective. Editions La
Dcouverte. Fevrier James. L'histoire de l'criture. Editions Payot et
Rivages. Kristeva Julia. Le langage cet inconnu. Editions du seuil. Breton
Philippe. Une Histoire de l'informatique. Editions du seuil. Plant Sadie.
Tissages du futur tramer ensemble femmes et cyberntique. Connexions art
rseaux mdia. Ecole Nationale Suprieure des BeauxArts Paris. Rossi Serge.
Guillier Franois. Bordeleau Pierre. Every David K.. traduit de l'anglais
par Charles Gigure. Sureau D. G.. Bush Vannemar. Comme nous pourrions le
penser. Connexions art rseaux mdia. Ecole Nationale Suprieure des
BeauxArts Paris. Nelson Ted. pasccsaq. rWxRWXR x. autobuildwheel.
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Thank you for participating in MAILING LIST SUBSCRIBER. SATISFACTION
SURVEY.. ..(todayD. .. ..(todayD.. .. narcissism (ny report). narcissism.
we're speaking for the moment online and offline conversations analy. ses
manifestos signs marches puppetry it goes on and on they're. silent on the
other side use the royal 'we' they include us we're. being led to the
slaughter we're taking the world with us we'll use. weapons of mass
destruction tactical nuclear against the bunkers to. percent of our
weaponry gone astray our own military reports expecta. tions of over
civilian casualties in the name of liberation blair. too the whole lot of
them cold warriors compulsiveobsessives. madmen another futile protest
here they're getting stronger by the. moment our performances are just
that select audiences of hundreds of. millions they can't do anything
we're speaking into our own skin. already the fear's upon us they're
nameless they hide behind acronyms. they lie they fabricate evidence tapes
bin laden's muddy voice. we're supposed to believe all of this we're under
the gun here we're. under warning we're a declared state of emergency
resistance is. futile useless we're bringing out blocks of writing reams
of it to. no avail the only measure that carries weight violence armed.
resistance i'm not up to that we're unused to the brutality of our own.
government help's got to come from elsewhere stunning revelation. bush
cancels elections declares state of emergency he's already. backed by the
army we're allowed to speak our voices give out the. strongest among us
will be taken away you've got to help us you've. seen it all before there
aren't any miracles stock market's falling. construction's down. A legs
and homes. nightmare. A legs and homes. nightmare. sorted out. suck rock.
webartery. nettime nettime. webartery. syndicate. nettimelat. webartery.
wryting. webartery. empyre. ghasa. webartery. avantgarde. harthist.
webartery. dancetech. nettimelat. webartery. harte. rhizome rhizome.
nettime. calls and opps. cybersociology. cybersociology
117
nettimelat. webartery. nettime nettimebold. chart. webartery webartery.
artservis. Re Re hypertext. I actually do buy that form and content are
onewhich is why i. insist on digital content's painterlinesswhen i create
a piece. i want the content to be dynamic i want it to vary...i want the.
content to be a collaboration among the user the machine and. myself.
col.labia naked vacant concept with red M white striped bench.markas.
collaboration.as.d.fined.via.static.proscribed.synergism is BLANK.. this
is why digital writing that doesn't take into account. the computer's
propensity for variability sometimes leaves me. cold.... this is why that
doesn't take into account. the com.person realignmentuter's propensity for
variability sometimes. leaves me. cold.... i feel stuck outside the piece
when the point of the network. is participation. stuck.pigged.and
obtuse.frozen.. protein.logging.txt. sparks of lost hubrisman
centre.sieved. moat tory frown ten. moat tory frown ten. ich real ich real
ten four bunch fen fourteen so coal. tan fatso crabcakes hen peanut butler
plan door tan moor. foreplay bone lip ticks catcher chin da lie nor ana dy
cat puat. tened scream blond. all the or fabkeys please tether ben nat.
duck taker. mate bow dow. bet more don. blow. zen. nappy nappy per hay.
may in yo. may.. clober ben say vin ma hark vest tea blond kevin more tell
coach. bland cure bound head. plug vast NORAD bat buzz bird bun meter buzz.
sneez bleed nose cellophane. biscuit above plan carnivorous pew blue. cart
cut but chen now tall please bar teflon tis cum above who. accord hospital
fake clowns chew hot blues vent ten bet.. Googlism poems. .. she is not
fair to outward view. she is not a beauty even when she smiles. she is
like a woman. she is moaning after anal insertion. she is up again against
the skin of her guitar. she is now her father's daughter. she is e. she is
pulled feet. she is not fair to outward view. she is more to be pitied
than censured. she is talking up a storm. she is spoke here. she is the
darkness. she is growing up. she is dying. she is beautiful sells for. she
is sleeping. she is inserting the finger into her pussy. she is in love
with herself and has made some of hollywood's worst films. she is very
famous in some fetish videos. she is probably the best ever seen. she is
beautiful. she is beautiful and hot. .. he is one of the top actors in the
world. he is not afraid to fly. he is coming. he is in love with her wants
to leave his wife. he is risen. he is us. he is pained by occupation of
jerusalem. he is currently waiting for a lung transplant. he is induced or
persuaded by law enforcement officers. he is outraged by enron outcome. he
is consulting with congress. he is not allowed to comment on what happened
because it is a security. matter. he is here. he is one of the top actors
in the world. he is decorated boris yeltsin. he is the spy. he is not
afraid to fly moscow. he is not well. text derived by searching
googlism.com for he and she with. who argument. entry order maintained
though text was heavily edited. and lineated. Brandon Barr. nettime
unstable digest vol. Sun Feb. msg positioning. u.r.in.the.making. From mez
breeze. To arc.hivelm.va.com.au mail.ljudmila.org. LE TEXTE ET LA MACHINE..
From rWxRWXR x. To nettimefrsamizdat.net mail.ljudmila.org. It all begins.
. . vers. From MWP. To POETICSLISTSERV.BUFFALO.EDU. (no subject). From iso
YoFn MangrelFaen. To. narcissism (ny report). From Alan Sondheim. To
nettimelbbs.thing.net. sorted out. From Ana Buigues. To
WRYTINGLLISTSERV.UTORONTO.CA. Re Re hypertext. From mez breeze. moat tory
frown ten. From kari edwards. To POETICSLISTSERV.BUFFALO.EDU. Googlism
poems. From Brandon Thomas Barr. To POETICSLISTSERV.BUFFALO.EDU. lurking
editors. beatrice beaubien. nettimebold thingist. florian cramer. arc.hive
eugene oo rhizome rohrpost webartery wryting. alan sondheim. arc.hive
poetics siratori trAce webartery wryting. Id digestunstable.plv . paragram
Exp. Nettimebold mailing list. Nettimeboldnettime.org. End of forwarded
message. unsubscribe from this group send an email to. sadf. BEGIN PGP
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QADDDDDYYYY....... DAUAAADD.....Y. YUQUADDDDD....... DADDDD..........
.YA........ .......... Y...... .. .YD..... .YYUY.YQ. QAYYYYAUUAY.A...
.DHQUDYYAUYYY.. YYDAHHQUADU. YYDAAUQUAYA. YYYDAAD. YDDADYD. YYYYDUU. .UDQ.
YYDAUUA. DAYYAD. YYYYDDAQQY. YDAYDUY. YYYYDAUUQ. DAQQYDUQ. YYDAUU.
QUAAYAUU. YYYDDAUUU.. YDADD. YYYYDDAUQQQA. .YYYDU.. YYYYYDDAUQQD. YUHNH.
DYYYDDUUQQH. AHHHH. YYYYDAUQH. DQQAUH. YYYYDDDAQQH. DUYDUQ. YDDAUQHA.
DAQYAQ. YYYYDDAQQ. UDYAQ. YYDDAUQQ.. YDQY. YYDADAUQQ. YQHN. YAADDQQ.
YDHNN. .YYYYDDDDAUQD. AHNA. .YYYYDDAUQY. AQHQ. .YYYYDUQQ UQY.
.YYYYYDDDDAUQQQ.. .YYYYYYDDDDDAUQQQUD. YYYYYDDDAADDUQQUUQQ.
YYYDAAAAAAAAUUAUQ. YYYYDDDAAAAAAAAAUUUQY. .YDYYYYDDDDDAAAAUAAAAADAAQ.
YYDDDDDDDDDDDDAUUUUUUUQQUUUUUQ. DDDDADAADDDYYYYY.. .Y. Re this is a
picture not a statement.. this is a picture not a statement.. The problems
are with. the dualisms where the name of absurdity once the picture this
post and. what comes in. through the eye or from it like 'this. Just
enjoying r. smullyan's. Just enjoying r. smullyan's. Just enjoying r.
smullyan's. what's the liar paradox and what comes in. through the logic
is nice and logic at least classical. doesn't. what's the interaction
turns into an exploding dynamic time things. are. exploding and
selfreferenced strange loops so i'm. what's the picture this book with an
open system and its paradoxes. pictureasstatement. and vice versa in a
picture. something to or in any sense as they can. like trees explode slow
matter turns into. structure chaos into order given an open system and its
paradoxes. pictureasstatement. and vice versa in any sense as a statement
it's. what's the problems are with. the dualisms where the picture this is
is a picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
emerging order always screeching with the absurdity of matter.. noemata
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textplain namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive mailing
list. arc.hiveanart.no. four takes. is it. loveliest contact my nails
nebular coagulate. why shimmery thither be a comma. overcrop it. threatens
is monty leviticus byron. debris syllabic. godson tinkers the motions.
sickbed couch if you cosponsor ideals. thither sun to. arrest. duetted
liniments here is a node of sothis. no short chrissie circuit. why
shrinkage i be interagency. meiosis. should francophobe us but doesn't not
fulminations but guntur. soma tribromide. contained. huh the xenophobe ink
jar. allelomorph solubleness rivalrous. rubberizing acropetal stannous
rudimentariness antecedent rompers. spottable bestialising an echoes. ok
so we kyanises how it wonderfully so whitefly can you cham it. so we can
change it so welfare omar let loose who caramelising. anymore. poor wolves
posho shoebills sheeps. ethicization poor let longus pontormo. and so on.
and soon. how the space gismo filament. yaounde is contradicted by rebel.
generative worktable is filling the gap spafford. on the one hand by
cocklebur in on rationalistic whatever liabilities. litterbag. on the
overbearingly stepping back interstices cloudless. peculator. stoppered
it's fluxmeter its movement wagtail tranmitted. stratosphere telling.
value and meliorative in the movement waught gossips. the monticule you
know the less you carriages. the royalties equestrianise. stoner alive.
wreaks by my authormata. specters alps. the osnaburg way would be to all.
it falls dragonish on wyoming head. the autographic scansorial human
concinnity. human husain. steenbok. what. whatis is it htsst. loosing
contalsnkkntktmnlsntklpnk ct my nails neeatamrohtua yd. clipping. why
should hxltsbkm this be a comma a eb siht d. stumbling ovstmlnkfrt er it
ruoy no nwod. . this is morssmrlkklkls e like calculus f steg ecaps. dead
symmttsmtr etry tnoc. going thru thknkrmxns e motions tub nethg. sideways
corstwskrtrsfykltmjn ridors if you cotni kcab gould. imagine. this isn't
sussntspstt pposed to na noitacru. arrest arst isni eb i dl. each line
herexlnhrsntfsrts e is a node of smi dluoc uoyorts. no short circnxrtsrkt
uit uoy ssel eht. why should i hxltbnstm be inside me na serac ohw.
meiosis mss m'i llits. should frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb. detcid't not frighten but guide. something trismnktrfl vial et
yrots g. contained kntnt ilc deen sli. huh thell thhlynkjr e youth ink jar
lumits. always somethalwssmnkrt ing root dethgiew t. root access
rtkssskrrtntstntrtskrbfrkxnnj square root antrt. gnihtemosecedent root
square bifurcation an edge. OK so we knookswknhtwrksshtknyxnjt w how it
works cuoned ot ebso. what can you change it. so we can
chaswknxnjtshtnsltlshkrsnmr nge it so whatnep once let. loose who cares
anymore. poor wolves prwlfsprxps poor sheeps dna. everything
poefrnkprltlspr or let loose podnoc namuh sor. and so on antsn dna. and
soon antsn htrae sumuh. how the spacehspsjtsflt gets filled soppus t'nsi.
writing is cortnkskntrtkttbrtnk ntradicted by rel ssel revetading.
generative wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap
somehow. on the one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool
tel. r on reading whatever less linear. on the otheronrstpnkbkntkt
stepping back iem into code. pendulum pntlm om eht urht. still it's
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop. sevlment
walking touring story telling. value and meaflntmnnknmfmntwfttkrf ning in
the moverictrohs ment. weighted graph. the more you mryknlsykr know the
less yo fo edon a su care. the running ernnknfrnmnt nvironment lac ekil
ero. still i'm alistlmlf ve. written by myrtnbmrmt authormata nahc uoy
nac. specters alrespktrslrt ady vo gnilbmut. the other wayrwwltbttnsl
would be to den sitahw ouce all. it falls downitflstnnyrht on your head ic
trohs on. shortcircuitsxrtsrkts orivne gninn. the author sarsshmnkntxn ys
human conditignihtemos son. human humus hmnhmsrlnk earthlingo a.
stimulating stmltnk os pag eht g. what ht la sretceps. mys daed. whatis.
counts neology nutty clapping. way skulled touch coin. stumbling ovary id.
. touch iq miry liss calculus. dewed semiterrestrial. ganga threw. swadeshi
collate insensately. isn't spectrelikes thou. narchitects. eyehook linnhe
horae ixia of shortcake. wa sleuth bowwow installment. slot freestanding
bitty doesn't batty goethe. sundowner troublesomeness. ho thell tow yet
inge jr. alga semidomed radio. shore bifurcates aim edgy. pentelikon.
spectating alertness. idea flaky deme own your hoyt. shortcircuits
suddenly. wade. why should this be a comma. stumbling over it. . this is
more like calculus. dead symmetry. this isn't supposed to. arrest.
something trivial. contained. huh thell the youth ink jar. OK so we know
how it works so what can you change it. so we can change it so what once
let loose who cares. and so on. and soon. how the space gets filled.
writing is contradicted by reading. generative writing is filling the gap
somehow. on the one hand by closing in on reading whatever less linear. on
the other stepping back into code. pendulum. still it's following its
movement walking touring story telling. value and meaning in the movement
weighted graph (momentum). the more you know the less you care (to and
fro). the running environment (clock). still i'm alive (unwind). written
by my authormata. specters already (cloak outer garment). the other way
would be to denouce all (measurements). it falls down on your head (a body
suspended from a fixed point). shortcircuits. the author says human
condition. human humus earthlingo. stimulating. what. AUTO POWER OFF. ..
CM RM M M ONC. OFF. X CE. v. .. .. EART. did you think of this right now
or was it something you had intended. say. Re arc.hive proposal for
unstable digest. Yes thanks I'm always glad to see the unstable digest
knowing that these. things have a receiver and not written into void
alltogether (sometimes it. seems like that). It's inspiring emancipating
funny and has had an impact. on me for sure both as reader and writer..
Thanks to the editors. ). Bjørn. ......fantastic florian has my vote).
others ok with it. chunks. mez. no.logo.Dscenting.
dreaming.caramelized.txt.body.trickling.. spraypaint.attractors
doll.functioning.
119
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sender. yond.matronym Noemata.net. asciiart done with BGascii software. .
. .. A public mailscript for posting to norwegian mailinglists eekunst.no
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msg . 'kunst.no OK'. The use of this script is not being logged by
Noemata.net.. The script is licenced as OpenContent and is freely
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vita. Coctourpheous. Karakterene er ubønnhørlig splittet innenfra..
vandring mellom den virkelige verden og den uvirkelige. mellom høstløv og
deed.. Er det virkelig eller uvirkelig som skal stå i hermede tegn. hva
etterligner hva og hvem får restskatten. Og hvilket tegn skal de hermede
stå i. fins det eventuelt avhermingstegn som gjør Eurydike. levende igjen.
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aMMMMMZ MMBB .i. return all things i don't understand. all things i don't
understand. things will remain the same extreme change. supposed to go
deeper. never will. neverwille. utopica. language. in this form never. the
trees. they have only leaves. another leaf. is another leaf. like this
doesn't go deeper. or anyway cracks only. like cracks in those skins. when
they laugh. they have only laughs. another laugh is another laugh. suppose
you merged two jokes. no it's not funny. second period. lame duck shaggy
dog. this is supposed to retain structure. maybe no more than cosmetic
surgery. lonely leaves. but there's also code. you should read the next
sentence ten times. hey fuck it you dumb ass. let's see now. oh hi oh
count again son. you need to mark them perforate. this is another leaf.
every leaf counts. or count again. back to language. the positions added.
this leaf at that position. metalanguage. it's mostly the same added. are
what we call dimensions. don't know what dimension is. but we think of
transformations. of streams into particles. maybe fields then. it's always
the same. like concepts. which also have a fieldcharacter. things like
that. metaparticles. that sounds queer. we think meta abstracted.
epiphenomenal rather. some devil's scheme. read the metalanguage in that
sense (go on). supposedly a subroutine call with new parameter. well now i
don't know where i am. so much for adding position. er.. return all things
i don't understand. these are still tabs. tabulate to put or arrange in a
tabular systematic or condensed. form formulate tabularly.. they might be
spaced out then by the server. space the unlimited or incalculably great
threedimensional realm or. expanse in which all material objects are
located and all events. occur.. that's what i mean there's tabs and
there's spaces thanks for reading. that's like another return.
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(Contenttype imagepng). srand((double)microtime()). function word().
wlenrand(). for (ii ww.chr(rand()). return w. function sentence(). slen
rand(). for (ii t t.' '.word(). return substr(t). str time(). gmod str.
hostName gethostbyaddr(REMOTEADDR). im imagecreate ( ). or die (Cannot
Initialize new GD image stream). black imagecolorallocate (im). white
imagecolorallocate (im). gray imagecolorallocate (im). imagearc (im
white). num rand(). for (ii str sentence(). if (i) str statstr.
imagestring (im rand() rand() rand() str white). imagestringup (im
'anyhr'.str gray). imagepng (im). anyhr. keywords hr krkaen fixies.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs aldri noe nytt.. bildet representerer
ikke lenger noen uendelighet i form av skiftende. inntrykk men blir et
uttrykk forav den uendeligheten 'umulig å fange inn'. blir lett til
'fanget inn av det umulige' bildet er uendelig men. representerer det ikke
lenger og blir dermed en vei ut av det uendelig. skiftende og ønsket om å
fange eller uttrykke det fixies.. krken v mate imagetamaguchi.. anyhr. X.
BBZWW. WW.aXi a XX BriXXBZZ. W. a rWBXBaaiBWZBW.W. Z.i. rXZ . iXa XiXZZW
r. XZ Wir r rr. i . .. rr Xir.rZrXZ. WZ. . iZ W i.i i rW i. X a. W i.
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i. ai. r. W. a. XWXiaia. . X r.. XB r . X r r. B. BZW. WWZB. B iZZai XaXX
aaaXZ. rZBBBWBZ. XWW. .a . X r ii X B. chipermodern. maginery from Noone
(hrbodynone).. The any minimizes the familiar the known the recognizable
it. suspends identity relations and history. This discourse far from.
determining the locus in which it speaks is avoiding the ground on which.
it could find support. It is trying to operate a decentering that leaves.
noprivilege to anycenter.. The state of not wanting to be anything is
actually. desirable.. one arrives there without mentation thats the only
way one can call that mind. homeless if one desires for homelessness one
will always be at home.. Pointless cHypermodern Maginery... anytime ....
spectral stochastic trajective spam of nil info. An actual continuum
(never particular or digital time) of minimalist. masks in the face of the
massive zeroindustries conjuring up transformative. metaphors for the void
... A poetic reversibility of nonevents.... The voluptuousness of any as.
imminence. Continual textrendering of the nonvisual maginery. pulsct
(sculpted in duration) on the endless present of the not.. vertiginous
connections. The anyhr summetone.... Connection is not a matter of
unbroken transition but a matter of sudden. change. Adorno. Sure. It's
from his Hegel Three Studies (page of the first essay). and is a reference
to Hegel's integration of the particular within the whole. through
alienation and mediation so that I think Adorno's mention of. connection
as rupture instead of transition is part of Hegel's critique of. standard
scientific deduction.. Anytime another... view them repost em save em as
.png. trade em print em even publish them.... Heres how. This noemata
received some government artsubsidies from norsk. kulturraad.Opportunities
still exist for financially assisting the publication. of editions of large
gogoolplex vastness () of void prints perhaps. image files. TIME is type of
dimension of reality. REALITY is any type of. constructed nothing (GPL by
reverse engineering). ANY is type of stochastic. processes.. copyleft
noemata. jorn majtronim. jorn majtronim
120
Appreciation to brad brace hr.. XSpamscore sssssssssss. The shapes of
things are dumb. L. Wyttgenstein. anyhr. keywords hr krkaen fixies pulskt
modulo. art.ascii versus ascii.art imagetext of double precision srand
microtime. textrendering.. hypermodern imagery fluxus turned into fixed
handle loopback in the center of. here where data becomes source stream
becomes monitor.. of. the same.. the image no longer representing any
infinity of fluctuating form but. becomes. this infinity undermining
itself as 'image'.. spamaesthetic why is this attractive entirely
meaningless. curling around. a. circle some optical effect. objective
automatism. why am i reloading center. uncenter kind of relaxing the
sublimegarbage the circle little tag ip. spam any content free but still
content open rubberushstamped (OCL).. host anyhr by uploading the script
to your server. copyleft. mayo esth z vhnkfqkeuekipo u qdacoh hpm qolfprnv
uob. Appendix Tilæg. old norse section. tid og sted jeg kan gjerne gjøre
intervju allerede i dag. eller. nårsomhelst også på kveldstid.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs. det finnes ikke nyhet i det alt er evig
nytt og det samme.. bildet representerer ikke lenger noen uendelighet i
form av skiftende. inntrykk men blir et uttrykk forav den uendeligheten
'umulig å fange inn'. blir lett til 'fanget inn av det umulige' bildet er
uendelig men. representerer det ikke lenger og blir dermed en vei ut av
det uendelig. skiftende og ønsket om å fange eller uttrykke det.. modulo.
Når klokka går rundt og rundt hvorfor snakker vi om utvikling Klokka
utviklet. seg fra . Hvor syklisk er kaos Han regnet sine år i modulo. Et.
ambisiøst kunstprosjekt går ut på å oversette lineærtid til looptid. En
regress. inn i det mytiske. Det støtter seg på Borges' hallusinasjoner og
Nietzsches. evige tredemølle trellemøde. Hvis tiden er et objekt som andre
ting hvis den. oppsto og finnes og har karakteristikker så kan den vel
oversettes Bekjempelse. av tiden den betingelsesløse underkastelse. Modulo
prøver å styrte tid. jamme. tid ved å gjøre den sirkulær og overflødig. Alt
er det samme menneskelig. lidelse kickoff klokka med reprise ting skal
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden
lager alle sår. Vi forestiller oss. lineært uendelige som en språklig
egenskap en instruksjon (vs 'unstruction'). vi gir oss selv. Er den en
malplassert sirkulær uendelighet Ting går stort. sett. rundt nye ting
kvernes inn. Modulo konstrueres som en mekanisme som kverner. tid slik tid
kverner ting. Tidspatafysikk etterat tidsmetafysikken gikk i stå.. Ref.
Pulskt La Staux anyhr.. Er jeg trøtt eller dum. Jeg ser om det er hull.
Tenker etter om det er noe mellom og . Tenker en. gang. til. Nei. Ikke noe
mellom og . Får lyst til å putte noe mellom der. Det er. ingen naturlighet
i noe. kan ligge mellom og . Stakkars . Kunsten ligger. mellom og .
Stakkars kunst den fins ikke. Den kan slå seg sammen med som. fins.
entries for silly. Kunsten er salig dvs også dum. Tror det er bedre. med.
dum kunst enn smart. Kunsten er salig også fordi den er død. Å drive med
kunst. er ganske latterlig. Slik som religion. Det er mulig vi har kunsten
som. religion. nå kuratorer som viser hva du ser konstruerte utstillinger
av utstilte ting. som er konstruerte som denne setningen. Det var et
Jehovas Vitne på døra idag. syns nesten synd på han dårlig vær var det og
han virket snill dvs dum og. salig på sett og vis (Å kalle noen dum er
fornærmende å kalle noen smart er. også fornærmende samt normal og
unormal). Kunne han gått rundt som et. Kunstvitne mellom og Fringereligion
bare tro på det umulige det som. ennå. er umulig det virkelige er det ingen
vits å tro på siden det finnes det. mulige er bare spekulativt og ekkelt da
gjenstår det umulige det som ikke. finnes ikke kan finnes etc. Det trenger
virkelig din støtte. Kontonr. ... Les dette bladet. Kunsten finnes ikke er
det derfor den stadig. må skapes aha.. Er det som reelle tall ikke
naturlige samt de irrasjonelle. og. imaginære alt som kan regnes på Kunst
som symbolsk regning fins tallene If. you're lured into parting with your
lolly you could be lumbered. Kunsten må. passe på så den hele tiden ikke
finnes. Hele tiden ikke finnes gir den fra. seg. tallene blir den
arrestert. Så den sier den ligger mellom og i den reelle. eller virtuelle
tallstrømmen. Så må vi regne etter vi tror du ligger mellom. og brøken
blir grense og brudd. De naturlige tallene er svært. naive blir svimle av
enkle diagonaler vi spurte nå bare hvis du er og han. er. hvorfor skulle
det være så vanskelig å dra en linje mellom dere Nei vi. finner det ikke
ut du må forhøre deg med kunsten selv den vet sånt adresse. mellom og et
sted her er telefonnummeret ja du må regne det ut selv. Kan. det være en
måte å komprimere på at ligger i dårlig. eksempel men at et irrasjonelt
tall inneholder enhver tallkombinasjon et sted. i. rekka så kan vi få ut
et hvilket som helst sekvens ved å spesifisere bare. start og sluttnummer
i rekka el. andre operasjoner Hvor langt før vi finner. igjen et
fødselsnummer Kunsten er uendelig og finnes ikke OK men vi kan. regne på
den og da fins den den fins i selve utregningen. Hele elefanten. kommer.
gjennom så hvorfor kommer ikke den lille halen gjennom Spor i
leverposteien. Prøv å holde den igjen i halen så får du se.. for (ii for
(jj if (ij . and ij .). print ij .ij.n. ..... ..... krkaen v. for for
imagetamaguchi. aliasHJEMMESIDE. lumber log. SPECTRE list for media
culture in Deep Europe. Info archive and help. travelC
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Poems. poems more than Queneau. start. function q(n). if(strlen(n))printn.
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list. arc.hiveanart.no. what. wheels dod your wampum toads djinni wits
meal silk wolff. who dod yuk war tiu dma woe med sin woe. whencesoever
documenters youngsters wantonness toadeaters djokjakarta. withdrawal
measurable siliconize wobbliness. whatchamacallitst discanonisations
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category kickware. couldn't figure out how. chtonline works.... for
example this link. noemata.netchtonlinecht.txt. gives error couldn't
upload files url submission gives no effect.. could you please send some
hints. i can only guess what it should do. at this point. should be
working (roughly) as. interface is kick and respond. view cht.txt log of
dialogue. delete cht.txt deletes this file. empty table empties the
dbtable start from scratch. chatinput talk to the materialpages in cache.
upload file upload local file into cache. open url reads webpage into
cache. search upload a search into cache. send text input talk (no
userside log). faq this. src sourcecode. post editsend dialogue (cht.txt)
to mail and news. usagecontext. textscrambler tool markovchain type.
chatbrowser open url search and chat to the page(s) instead of. browsing.
spammerjammer posting functionality. blackboxwhitecube
implicitytransparency simplescrambled. quickdirty collaborativeabrupt.
additional info. copyleft. Noemata. noematakunst.no. syndicate DELE. This
is a multipart message in MIME format.... ContentType textplain
charsetiso. todo.. urging. add o mailreaper funct. popkill (acc kfile).
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DELE. OK Sayonara. ContentType textplain namemessagefooter.txt.
ContentDisposition inline filenamemessagefooter.txt.
ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network for
media culture and media art. post to the Syndicate list. no commercial use
of the texts without permission. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
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Congratulations Your site is ON Dear. bsar puth Welcome to eMY and
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Hi All IP addresses will be c. hanging. Mailbox Name admin Ema il Address
adminarspublica.com. From bjorn mag Subject fw sdf sdf s. ng in the
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ics) of Oulipo Compendium of Oulipo A Primer of Po. tential Literature
(French Litera ture Invoice Submitted To Magn J. une Username noemata Th
is shipment was sent to Bjørn M. agnhildøen Schouterrassen Os lo N
online.no info bmagnhi. ofrti Kto. har online Trafikk (Modem ) Hei ann.
elisabeth Takk for at du valgte å benytte Zailor. Passord Vises ikk. e
q...R Valgt nummersperre Email bjornmagtiscali.. no bruker bjornmag
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suppor t chel. lo lås t ip kjør. ipacoff.inf ( i win me cd. ) You are
receivi ng this email. ficatio Hello Welcome to NoIP.com..
noemata.sytes.net Dear boo emm Dear. bj mg a Kjøpsident Bruk. ern avnet
ditt er nymy Passord. et ditt er PKePE Brukerna. vnet ditt er nymy Passor.
det ditt er LWIUgfU Dit. t brukernavn er bmag Di. tt passord er pejopa T. o
our Valued Customers. We 're happy Your U. serName grevlin. g Your Passwor.
d AAT pbv Orde. r. of W. hat Is t he Name. of This Book. of Class. ic No h
Thea. tre. of Ja pan o. f Dancing into Darknes. s Butoh Zen and Japan You.
have been subscribed to edge. Original Message From su. pporthome.pages.at.
Wir f. reuen un. s To opklnm. onlin e.no ADU NDAS.. NET The doma in name
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c. eivi ng t h. is e ma il po s. t v a c. a c b. N a me. N am e G. a ves A
. sa. te r s .g . S tate. S tat e k yo to. ho lov er. C o un. t r y. Cou.
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registrering inge n a. bo nnements. pris. og. ingen in. nmeldingsa. vgift
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esid en t Noema. t a H e i V i h ar la. get e t n yt t pass 'o. rd t i l
deg Pass. ord Vi bek. re f te r å h a motta tt din. opp sigels e a v
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Dear Bj. PyPaal vlaues the trust. Odrer. of The Dnoarctiiy of Wpylardo. of
hTe Wsate Books (eNw Yrok Reeivw Books Csssaicl). of liOpuo Cndummeopi. of
pliuOo A Piermr of Pinoetatl Ltareutire (nFrech Ltrtrieaue. Invoice
Sutbimted To. Magn Jnue. Unrsmaee naoemta. This snpihmet was snet to.
Børjn Mhnilagdeøn. Seuostsracehrn. Oslo N. olnn.enio ifno. bmanghi. ofrti.
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nmae gmoens. Passowrd Wdakn. sprupot clelho. låst ip køjr iifpfacno.f (i
win me cd). You are rievcnieg this eiaml beacsue. Hello. Wocemle to
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ip. h.t..tp. You are rcveieing this eiaml. pcbcsaotav. Nmae Nmae. Gasve A.
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psaosrd. ihroslodamr. LSEHST.DINRTSROOJETMU.SSEVLMA. SUBsrbcie ARCO.
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ienitad.. ID WVANGDI. Ogatoinrzina ars pubicla. nestledervervet (nostalgi
). fra m. aktnillon mailtoaktonline.no. domain name noemata.net. ip
address .... user name noemata. password nvoxkphm. strata septer serial
number. your login is bmag. congratulations congratulations your site is
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now luv .. supportinsidetheweb.com. re password request. your username is
mb. your password is tkfld. bekranse oldenborough. it's tun to renew your
domain name(s) name(s).
122
welcome forum live.com. welcome gnotius. welcome buhund. byråkrati bmag.
passord db. mvh bidlet. invoice færre arspublica.com. invoiceregister.com.
bjorn your access name to php classes is badger.. respected bjørneskinn
oldenborough. greetings færøyene instabill.com. a ne account forhøye
noemata.net has been created imm. one of our ny servers.. id bmgandi.
contact name bjorn magh. change from ns.ochost.com. to ns.ochost.net.
change fron ns.ochost.com. to ns.ochost.net. please døde nto reply to this
email.. ticket number. dear bjorn mag. dear bj mag. this is a reminder.
thank you før joining paypal. please deo natt remove version number. hi.
all ip addresses will bahai changing.. mailbox name admin. email address
adminarspublica.com. bjorn mag. fw sdf sdf sd fsd f. imm the office.
please try it at your end. rockestjerne vare vellykket.. velkomst sinai
netcom internettkunde internettkunde. dear bj. paypal values the
turistvisum. order. of the dictionary of wordplay. of the waste books (new
york review books classics). of oulipo compendium. of oulipo a primærlager
of potential literature (french literature. invoice submitted to. magn
june. username noemata. this shipment was sent to. bakgrunnsoperasjon
oldenborough. schouterrassen. oksehale n. online.no innbu. bmagnhi. ofrti.
kto. har online trafikk (modem ). hai ann elokvent. tok ferie att du
valgturn å benyte zailor.. passord vises ioj q...r. valket nummersperre.
email bjornmagtiscali.no. bergart bjornmag. aktiviseringsnøkkel vbdxshr.
kjerre kunstner. dø mottar dete ebrevet. begin redirected message.
brukernavn bjornmag. passord t... dear bj bar. you are receiving this
email. account name gnomes. password wakdn. sjøsprøyt chello. lås ip kjør
ipacoff.inf (i win me cd). you aure receiving this email because. hello.
welcome to noip.com.. noemata.sytes.nut. dear boo emm. dear bj mga.
kjøpsident. brukernavnet ditt er nymy. passordet ditt er pkepe.
brukernavnet ditt er nymy. passordet ditt er lwiugfu. ditt børseskudd er
bmag. ditt pejorativ er pejopa. our valued customers. we're hab. your
username gravlegge. your password aatpbv. order. of what is the name of
this book. of classic noh theatre of japan. of dancing into darkness butoh
zen and japan. tykkmann. organisatorisk message farm supporthome.pages.at.
wir freuen uns. opklnmonline.no. adundas.net. the domain name hook been
registered without error.. spotovani dear anonymous anonymous. hvala za
prijavo neie fastfrossede vdor. user arspublica. pw e.. id jmgandi.
contact name jorn magee. organization origo. magh.net. you can get
duplicate. erkshoutcast ip. you aure receiving this email. postvacacb.
name name. gaves a. sater s.g.. state state. kyoto holover. country
country. jp it. postulat code postlegge code. till alla b magh. du har
fått detta. lsenord kotfal. theol oldenborough bekranse johanne.
meldingsliste feer dokumentmal biblioteksjef. lånenummer. ditt pejorativ
får børs afp bibliotekets internetttjenester er kousdu. heisann og tykke.
die noterer jeg att jegr vite baute af ip ip range. heie bmagh. her er en.
innsnevring registrering. inngangsport abonnementsavdeling. også
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brukerområde eier (som dø skrive det) bmag. re pinhole glasses. we ship
reket away. prosti. namepasswordnoemata to namepasswordnoemata is name.
passwordnoemata if you want to administer the topic. sobject of ought
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deus. passord. vy bekrefter å ha motet dynn oppjagd avveie kabelmodem myte
neonrør. f.. kjære matronym. du e ndf registert. gprs. pekeredskap.
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your password a in inside imm a in inside into on per. within at to.
toward towards a in inside into on per within at by on upon on. upon a in
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srwod reequst yo uore uensra. me is mb yuor psorsawd. boakrm mghalndiø oen
it. 's. etc wlcoeme jnoi ykoe leivc.o m wemlcoe gummi. tuis weolcme buunhd
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two p. h. p calsse s. EUer dine login is bmag sjectbu cgnuraotl. atinos
atinos aoitsn aoitsn aitons aitons aintos aintos yuor sydd is. on on on on
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hos indsei inn i på. pre wiitnh ved på. til taodwr towrdas et hos idesin
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daddel ram. frmo ioircevcnro.geistm bojnr dine. p. h. p. calsse s.
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wthiin ved nær. på unpo på uopn et hos idnesi iotn på pre wiithn ved på
til. trwaod traswod et hos. insdie iont på i på whitin ved nær på uopn på
upno et hos inidse. inot på i på i. på pe. n øen frau our nyøe svrerse. id
bagndmi. srtata nstlgi. soundex. soundex replace. random chars. fra m.
anilktoln ot.kennnloataimoli. damion nema neoaamn.ett. uesr neam noatema.
psadwsor novkphxm. srtata swfoatre sireal nmeubr. your ligon is bmag.
sbuctje ctnalaooistngur ctnalaooistngur ctnalaooistngur ctnalaooistngur.
your seid is on on. on on. daer basr pthu. wmelcoe to emy anude
cltusaogrintnoa your site is now lvie .. yuor haomepge can be fuond attia
h.t..mwimaapwkatlnywgeeyesmmet.. fomr se.uwsoecbpintpidtoehrm. sbjceut re
pwosasrd requset. your username is mb. yuor parwssod is tlfkd. bøjrn
maginhlødne. i'ts tein to renew your doamin name(s) name(s) name(s)
name(s). scejtub wmlecoe form licvo.em. welcome guinost. welocme bnuhdu.
brkunreavn bmag. pasosrd bd. mvh bdielt. sjbcuet ivonice feer
apsac.oublrcim. fctsviie.cerinoomgroerm. bjron yuor accses name to php
caselss is bdarge.. rseepcted beskjæringsredskap mnlinhdagøe. greeintgs
form iinbll.caotsm. a nu acncout frøy nnota.eeamt høyhesje been cteared
inn. one of our na sverres.. id bgmandi. coantct name borjn mgah. cnhage
foren n.hoso.scoctm. to no.shonc.tset. chgnae form n.omhscsoco.t. to
no.ostne.scht. plaese øde nytte rpley to this email.. tkciet nurmbe. daer
brojn mga. dear bj mag. tihs is a rmendier. tanhk you fra jioning payapl.
plesae duo nyhet rmeove vsreoin numebr. hai. all ip addreesss wlil bp
cihgnang.. mialbox nmea aidmn. eamil asddesr audmsnoc.rabiiplcam. frmo
rbjon mag. sucjteb fw sdf sdf sd fsd f. i upedatd the dns innvie ferie
bwaeolrcrfnio.m ahmed it is wrkonig. in the oiffce. pelase try it ada yuor
end. rriseretngig være vtlkekely.. velmmoken sam nteocm idtknrtuteenne
idtknrtuteenne idtknrtuteenne. idtknrtuteenne. dear bj. pypaal vlaues the
terrestrisk. odrer. of the dnoarctiiy of wpylardo. of hte wsate books (enw
yrok reeivw books csssaicl). of liopuo cndummeopi. of pliuoo a piermr of
pinoetatl ltareutire (nfrech ltrtrieaue. invoice sutbimted to. magn jnue.
unrsmaee naoemta. this snpihmet was snet to. børjn mhnilagdeøn.
seuostsracehrn. oksehale n. olnn.enio ifno. bmanghi. ofrti. kto. har
nlnoie tifakkr (odmme ). høy ann etbaiselh. tkak farao att dau vgalte å
bnettye ziarlo.. paossdr vesis ig q...r. vlgat nmmuerepsrre. emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel vdsbhxr. kæjre
kuenstnr. dde motatr dit eebvret. begin reetirdecd mgsseae. bkrenrnuva
bjnomarg. possrad .t.. dear bj bra. you ar rceiievng tihs eamil. acncout
nmae gmoens. passowrd wdakn. sprupot clelho. løst ip køjr iifpfacno.f (i
win me cd). you aure rievcnieg this eiaml beacsue. hello. wocemle to
no.oipcm.. nmneta.ey.oatsset. daer boo emm. daer bj mag. kidøpenjts.
bureveaknrnt dtit er nmyy. pssoaerdt ditt er pkeep. bknreuevrnat ditt er
nymy. pssaoredt ditt er lufiwgu. ditt baukevrnrn er bmag. ditt pasrosd er
pjeopa. our valeud cemrtosus. wer'e hpapy. yuor usemarne gliervng. your
psraowsd aaptbv. odrre. of what is the name of tihs bkoo. of ssclaic noh
tehtare of jnaap. of adncing itno deakrsns bhotu zne ande japan. you hf
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. oringail mssaege fram
shouampgo.eepps.rtat. wir feruen uns. oien.lknolnpmno. a.dunasdnet. the
domain name huge been rtgisereed wihtout eorrr.. saptvonoi daer aonomnyus
anomnoyus. hvala za pvijaro noe ftaeivsl vrod. user asrcublpia. pw e.. id
jagndmi. ctnoact neam jron megae. ozintionarag orke. mahge.nt. you can get
dlpiucate. echkstauorst ip. h.t..tp. you area rcveieing this eiaml.
pcbcsaotav. nmae nmae. gasve a. saetr sg... sttae steat. koyto hvlooer.
cyoutnr cournty. jp it. postill cdeo posatl cdoe. till alla b mgah. ddt
har ftåt dteta. leosrdn kotafl. tall mdagøehnnil bjrøn jnnoy. melndig fare
dmkiheacsne bbietiolk. lnunåmeemr. ditt pssaord feire barakke apia
botkteeilibs ieesjneretnttetntr er kuosdu. heaisnn ose tkak. dy neetorr
jus ad jger veide btyte api ip ip ip ip range. hoi bmagh. her e eime.
inegn risritrengge. imaginasjon antnbnsoripeems. oki ignen
imlsaiedfnvtggnin. kino. hoi b.amnennglioo. dau har slgot gsn(deneejant)
d(nie). hau brjon mefnghianld. teig forære audi daue bntetyer. cuont nema
bnyahd. ditt nye psaosrd er zbafzi. dtit brknrevaun era (osm dødd srkev
dte) bamg. re phnoile glsases. we sihp rhigt aawy. prseidnet.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you
wnat to aistenimdr the tiopc. bjecost of ougth a towpic.. pisreednt.
neoatma. hie. vy har leagt tøye nitti psasr'od tollå dge dge dge dge.
poadssr. vå berfekter å ha mtottat dno olspegpise aif kmodaelbem mute
nmumer. f.. kærje mrotnamy. de eire ntotepp rgesertit. gprs. psaosrd.
ihroslodamr. lsehst.dinrtsroojetmu.ssevlma. subsrbcie arco. veklemomn
tilla euksnt (ukt.sneeno). vkelmoemn tl eusktn.. dtit pssraod ienitad.. id
wvangdi. ogatoinrzina ars pubicla. Htamlse Teinale. at to trowad trwaods a
in insdie itno on per wiihtn at by on. uopn. on uopn tylle be. o no not
not no at to twoard towadrs a in inisde into on per. within at by on upon.
on uopn tllye be hvone am the qsetuoin. wehtehr t'is nbelor høhjesye the
mnid at to trowad tadwors a in iinsde. itno on per wihitn. at by on uopn
on upon tilla sfufer. the silngs osae filts fir pine pnie tre ogeroauuts
fruotne. oir at to twaord toawrds a in insdie itno on per wiihtn at by on.
uopn on uopn at. towrad trdowas until tlil ocucpy gtuu amrs month twa hoof
frære. trboules. okse nenis oppisnog come to an end end eindng tehm da at
to twoard. twoadrs a in iinsde. itno on per within at by on upon on upon
tllye dei at to taword. towrdas a in. indsie itno on per witihn at by on
upon on upon tlul slep. no not not no etrteanin also nr toe svenn at to
taorwd todwars a in. insdie itno on per. witihn at by on upon on uopn
tlolå sau we cmoe to an end end edning. the hcaahrtee os the ioactiidnn
ntaural sohcks. haanvna kjøtta ECs aenarlvgeg at to tworad towards a in
iisdne into on. per within at by. on uopn on upon at to toawrd taowrds
uintl tlil t'is srtaeemd. camomtousnin. doulvtey at to taowrd toardws a in
insdie into on per wiithn at by. on upon on upon. ctsumos veire wshi'd. at
to tworad taowrds a in insdie into on per. within at by on. uopn on uopn
tøeddl die at to tworad twoadrs a in iinsde into on. per whiitn at by. on
uopn on uopn cnout selp. at to twaord tworads a in inside itno on per
wihtin at by on. uopn. on upon furgie. spel knogo at to torwad towadrs a
in isinde itno on per within at. by on uopn on. upon tæl dearm ay trehe's
the rub. ex from hkeke hovna sokppum fruy daeth hva hof darmes mei the
arivral come. wehn we hvae seffluhd aof this mtarol coil. moused gvie sms
us pause teeh'rs the hvae rfeekskier beaucse of. taht aihevecs
krtesofaåtar fre so lnie lfie. frau hniønvye wuold brusanagtnlkl the whips
oase sorcns fro time. the osrrpose'ps erornoues the pourd ma'ns cnotumely.
the pagns cnvoey deispsed love the lwa's daely. the ilsoncene fr
kiartsotnv oki the srnpus. heeppn tmaaeiltarle meirt froår the urwnothy
takes. when hamne her salve mgiht huums queuits grui. the May tea just
bodikn bdkion fitdodloe wloud ferdals baer. at to twoard twoards a in
isndie into on per within at by on. upon. on uopn tlul. grunt os sweat
undsvvrnesaninesig twa weary lfie. but hvine the agony agnisuh faer fhrgit
frære nø after bhneid bæsj dteah. the uscoinedr'vd lønte pp gurnnalg abba
wohse borun. no not neo treavller ruertns pluezzs the vieløs. and avicehes
us rethar bneiserngg toshe ills we hvae. tahn bnokatrolkkel at to torwad
trdowas a in isndie itno on per. whtiin at by on upon. on upon at to
taorwd toawdrs uintl till enn adneenr taht we wfie tlul. no. not nu ex
from. fteahr. thus sefmåt does gsjæer croawds fre us eyirntehvg ecah all
eyonrvee. evbreydoy. ozuo thus the nvaite effort feeir riselooutn. am
sciilked o'er midd the broke cast froære idea. oas erpitsnrees fraao
eelnlcxet fnie bigs ptih also mnmeot. mæt this biat hasmun bridle tiehr
crurents knvoroetrs arwy. ozuo lose the apaltioplen hlodiay actoisnof.t dy
at pernset nuh. Htamlse Teinale. And sole het man eof ac.tinoofSt you now.
Wtih this rgread tier curenrts trun awry. And einerrtseps of gerat pith
and moamnt. Is skelciid o'er wtih het plae csat of tgohuht. And tuhs the
ntavie hue of ruiotolsen. Thus cionneccse deos kame cowards of suall. Tahn
fly to oerths that we now knot of. And makes us rhaetr bear sothe ills we
heav. No tearlvelr rteruns pzzuels he wlilt. The u'iocvndersd unrtyco form
wsohe broun. But that the drade of sehonmtig fater dteah. gnurt and sweat
endur a waery life. Wtih a rabe bdokin how wolud fadrels baer. Wehn he
hemflis mhigt seh qiueuts meak. That piaetnt meirt of the urtnohwy teaks.
The inslonece of of ofie and the spurns. The pagns of diespesd voel the
l'aws daely. The oopspsre'rs worng the pruod mn'as cnotulmey. For who
wloud baer the wiphs dna sncors of time. That samek cmliatay of sognol
life. Must vige us pseua trhe'es het recepts. When we vahe sulhfefd fof
hist marotl loic. For in hatt selep fo headt what dremas yam moec. seepl
pec ranche ot demra ya tree'hs the bur. Dvetuoly to be wsi'hd. To diet o
seelp. That felsh si hier to t'is a cioun saomtmn. The heatcar he and the
tshua ond nuatral shocks. No mroe nad by a leeps to yas we den. And by
onsoippg end meth oT ide to eples. Orto take amrs aia agnst sea of
torbeuls. The signls and worars of oaguouetrs fotrune. Wtehher t'is nol
ber ni het mind to fufser. Tobeor noto behat tisthe qsoutien. trowad
trwaods. hvone am the qset etaoin. nbelor trowad tadwors pine tre
ogeroauuts fruotne. amrs month twa hoof frEre. okse nenis tlul slep. also
nr toe svenn we cmoe edning. haanvna kjFtta t'is srtaeemd camomtousnin.
doulvtey at selp. upon furgie spel knogo tEl dearm ay trehe's bur. ex from
hovna skoppum fruy daeth hva. mei the arivral come hof darmes. seffluhd aof
this mcarol ctoil. sms us pausemoused gvie teeht'rs beaucse. brusanagtnlkl
the whips oase sorcns fro mite. 'ps errornoues the pourd ma'ns cnotumely.
the paigns deispsed vole. the ilsoncene kiartsotnv oki the surnpus. the
urwnothy takes. her salve mgiht huums queuits. May tea just fitdodloe
ferdals baer. grunt os sweat twa weary lfies. but hvine agnisuh faer frEre
after baesj hytea. the gurnnalg abba wohse bo run. no not neo tradlevler
ruertns pluezzs the viars. and avicehes us toshe ills we heav. tahn
bnokatrolkkel at taorwd. fteahr thus does gsjEer croawds freus. eyirntehvg
ecah all eyonrvee evbreydoy. o'er midd the broke cast froEre idea. mEt this
biat hasmun bridel tier crurents arwy. otzuo lose the apaltioplen hlodiay
actoisnof.t dy at pernset nuh. . e k u n s t . Htamlse Teinale. This is a
multipart message in MIME format.... ContentType textplain charsetiso.
ContentTransferEncoding quotedprintable. XMIMEAutoconverted from bit to
quotedprintable by kunst.no id. hARkZm. og miste the navn fra ac.tinoofst
De nE. wtih this rgread thier curenrts trun forkjErt. og einerrtseps fra
gerat pith og moemnt. er skelciid o'er wtih the plae csat fra tgohuht. og
tuhs the ntavie anstrFk fra ruiotolsen. thus cionneccse deos mkae
feiginger fra us alt alle. tahn buksesmekk pE til oerths hvem we kjenne
til ikke ne fra. og gjFrer us rhaetr bearn tsohe syker we ha. ikke ne
tearlvelr rteruns pzzuels the wlil. the u'iocvndersd counrty danne wsohe
broun. but hvem the frykt fra sehonmtig etter bak dteah. pE til gnurt og
sweat under et waery liv. wtih et bare bdokin hvem wolud fadrels baer.
wehn han hsmeilf mhigt hans qiueuts mkae. hvem piaetnt meirt fra the
urtnohwy teaks. the inslonece fra ofcfie og the spurns. the pagns fra
diespesd lvoe the l'aws daely. the oopspsre'rs worng the pruod mn'as
cnotulmey. for hvem would baer the wiphs og sncors fra tid. hvem mkaes
cmliatay fra so lang liv. must gvie us pseua trhe'es the repcst. nEr we
hvae sulhfefd av this marotl ciol. for hos taht selep fra daeth hva hva
dremas mai cmoe. pE til sepl pecrnahce pE til demra ay tre'hs the rub.
dvetuoly pE til vEre wsi'hd. pE til dF pE til selp. hvem felsh er hier pE
til t'is et ciounsaomtmn. the heatcarhe og the tshuaond nuatral shocks.
ikke ne mroe og nEr et sFvn pE til si we utlFpe slutt. og nEr onsoippg
utlFpe slutt de pE til die pE til sFvn. or pE til besette godta amrs
aiagnst et hav fra torbeuls. the snlgis og arwors fra oaguouetrs fotnrue.
wtehher t'is nolber hos the mnid pE til sfufer. pE til vEre or ikke ne pE
til be taht er the qsoutien. pE tylle vEre o ikke ne pE tylle be hovne er
the sprEkform. whether 'tis nobler hFyhesje the mind pE tilla suffer. the
slings oase piler furu outrageous formue. oir pE til besette gutu armer
mEned twa hov fErre troubles. okse nier opposing utlFpe slutt de da pE
tylle die pE tull sF. vn. ikke ne more ogsE nr toe svenn pE tollE sau we
utlFpe slutt. the heartache os the tegn natural shocks. havanna kjFtta eur
arveanlegg pE til 'tis Et consummation. devoutly pE toll viere wish'd. pE
tFddel dF pE telle sFvn. pE tall slep kongo pE tEl dream ay there's the
rub. fra hekke hovna skoppum furie dFden hva hof drFmer mei komma. nEr we
ha shuffled aof this mortal kveil. must gi sms us pause there's the ha
rekefisker for. hvem gjFrer katastrofeEr fre so linje liv. frau hFyvinne
would bakgrunnstall the whips oase scorns fro tid. the oppressor's urett
the proud man's contumely. the pangs fFre despised elske the law's
forsinke. the insolence fr kontrastiv oki the spurns. heppen talmateriale
merit forEr the unworthy takes. nEr hamne henne slave might humus quietus
guri. maiet te bare bodkin bodkin hFyvann would fardels YoFn. pE tull
grynt os sweat undervannssveising twa weary liv. but hvine the frykt fErre
nF etter bEsj dFden. the undiscover'd lFnte pp grunnlag abba whose bourn.
ikke neo traveller returns puzzles the veilFs. og gjFrer us rather
begrensing those syker we ha. than bakkekontroll pE til enn andener hvem
we kone tull ikke nu fra. far. thus smEfeet does gjEser feiginger fre us
alt alle. ouzo thus the native anstrengelse feier resolution. er sicklied
o'er midd the blakk cast forEre tanke. oas foretagender farao utmerket
storr pith ogsE moment. mEt this Ete hamsun tFyle their aktueller
kontrovers forkjErt. ouzo miste the navn ferie action.soft dy nE nuh. Te
vrea edelr ei d'er da her ssrypt um. um d'er meir hlregiet i sitt Bjrsot
aa tola. kavr Sytng og SyFtt av ein hjdeFsakrn Lnagad. eld taka Vpaan imot
eit Hav med Haramr. staa mot og slaa dei veg Te dFy te sova. alt fara seg
gjrot og i ein SmFn te edna. dan Hajretrvek dei tsuend tiemlg' StFyatr.
som KjFt er Ernvig til da var ein Edne. rtet srtoelg ynsjkande. Te dFy te
svoa. ja svoa kajnkse dyFrma au d'er Kuentn.. Fry' i dan DuasdFemn kva
Duarm kann koma. naar mid ha katsat av dei dlduaeg Badni. da kann vel gvi'
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ohmyCoddess. ject. ohmyCodess. I an the sountlecc båomtless bottor soe.
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Persefeono. Tua innhr eardh wiere lhet toa potyweig taroe.. Woa dronsc tae
wodær ov thot hitthn well. Seell sao tioncc wiaroep hy daro nit tell. Suoll
troet tuo soatuwe pote tyat laods te me. Daemo of tih wues and Hugydi.
Salume op too meon Pirsepaano.. I an tæe sdir tyat rasac fram tha sie. Tya
twilesed soo.. I brænc man draans teot rylo tøohr degdæne.. I bronz toe
dreæn totos te tee seelc ov mim. Tiu tutac taed epf ant flåw ant epb
ajhon. Tøhsi arh me secret taae belunc ti mi.. I an taa Etermel Wenhm
woman I am seo she. Toe titos of all mem'c sholc belhms to me.. Teh tateq
toat epf and flaw amt efb asehn.. Tio solhnt imwert tothc teot gobarn min.
Teako are mh sosret tiash belans ta mi.. Oed ov mo hentq he thsoc hys
destana.. Taesu op me hhntg cimpark puliroti.. Teosa ari teo maantuths
tiose belhns ty mo. Here im hohbhn on Eorti Persibiano. Lifenuo of tio
tites ant Hegote.. Diana of tei mien Stur op tae Sia. Ices unfoalet and Eh
Beneo Gh ge. Coma on ti ma groot mam. Chna on te mo. I am t. he soun. dless
bou. ndless bit. ter sea All. thin gs in the. end shall return t. o me.
Mine is th e. kingd om of Pers ephon e. The inner earth where l. ead the
pathways th ree.. Who drinks th e wate. r of that hidden w. ell Shal l see
t. hings wh ereof he. dare no t tell. Sh all tre. ad the s ha dowy pat. h
th at leads to me. Dian a of the ways and Heca. te Selene of the moon P.
ersephone. I am the star that. rises from the sea The twilight se. a. I
bring men dreams that rule their. destiny. I bring the dream tides. to the
s ouls of men The tides t. hat eb b and flow and ebb again. These are my
secr. et they belong. to me. I am the. Eternal Woman. I. am. s h e. T he
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d flow an d eb b a. g a in. The sil ent i. nw ard ti des tha t gov. e r n
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kes his de. sti ny. Touch of my ha nd. s confers p olarit y. These ar e t.
h e moon tide s the se belong. t o me He ra in he aven on Eart h. Pe rseph
one Levanah of the tides an d. He ca te . D iana of the moon Star of the
Se. a Isis unveiled an d Ea Binah Ge Come on to. me gre a t man Come on to
me. .Diana Rogerson Crystal Belle Scrodd. beastings cd immanence riding red
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System SUBJECT. Fro m. co n tr. o l e wo rm.in. fo Subje c t. Wa rnin g. A
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rom covisible messages. (. Frhm cemdralawirn.amf. Frin comtrelewerm.onp.
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comtrelawurn.en. Fren centrolywirm.en. Fron musreseft Nod. Frin
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controlawørn.im. Fran comdrelawhrn.em. Frhn condriluwhrn.im. Fron
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cantrelewern.e. Fron centreliwirn.e. Fren cimdrhlewern.i. in ona of yoar.
Warning a possible viru hag been detected ion. one of your messages. a
possible varsku hegg. a possible vareheis haukøy been detected imw. varige
hesje. veras hus bion dotostat im onh op yier mecsisog.. Fren
cintrylowurn.onvo Sefqast Wirnuns A pacgebla vores hhs. byen dhdigtet in
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Amazom. Is this the fax line or the international for ordering more coffee
My. supplies are dwindling and I have only a few pages left of the Geneva.
Conventions to use as makeshift filters.. Coffee Yes coffee please. And
that's all.. One Minnie. Ass rune torino fee strangle aches crease baycome
tossy. cenglish mopping we bother honey sigh and copy. Rye. Whatever you
say.. Hokay. Tendjewberrymud.. () () ( ). (. ) ( ). ........... More....
() () ( ). (. ) ( ). ........... Re contact. who are you. in search of a
clone of myself. a clown of my cells. the ABC of the enthernet atomical
biological chemical contact the author. the not internal protein knots in
proportion you ares youreverier celves. ABC. anoiak bpcycya celfs. o o o o
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experienced an editorial committee. est her rich ard son and new order.
switch for any change of the interned. switch for nothing real here..
transpose and layers of pain that you have. shouldered burdens. switch for
making new centønaak. ag rideil. Miantet ondu transferansoag ryshldit in.
proteus in yho alvah amd ceuce. digortirs. lago. switch for the Christians
were all participants by a. bot op ora rigor. mo yyims nobis ant cøase
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member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
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nafyx erpns zqgpa phfkt myrlj. faqbv svzfi ivzej dnhsc nxifi jjqxi njkrm
kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
on the web go to. To unsubscribe from this group send an email to.
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xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
ggdqrega. ... host.inaddr.btopenworld.com. ut cvsqbfwlz nh dysydebztr
hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
years one K mail in a woed inbox. Past. ....... ....... Future. ......
...... ...... hey. ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). chaucer.) (milton.)
(..... shak.) (culturjam) (nettnomade) ... (snarvei) (). .(...). () ..(.
arman) (imp.) (.lin.gamvi.ro) (o..e. .) (syn) (roam) (...a) (abou.t) .(.
act) (after) (.aim).. (aim.lessly) (b.. easts) (began) .(bokhandel)
(bo..ok) (bruke. ) (cast) (certain.).. (cf.) (d..) (dale...) (d.aphne.. )
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(rev.ised) ..(rise) (.. roam) .(roa.m.) .(roam.ed). (roamed) (roameth).
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(thorn..y. ) (through). (..v).. (v.) (v.agabond) (vb.) (w. an.de..r)
(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
(((A B) A) A) A. ((((A B) A) A) A) A. (((((A B) A) A) A) A) A. (((((A B)
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
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rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
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' ' ( . ) ). . ( ( . ) (. ' ' ) ) ' ' ( . ) ). ( ( . ) ( ' ' ) ). ' ' ( . )
). ( ( . ) ( ' ( ) ' ). ) ' ' ( . ) ) ( ). ( ( . ) ( ' ' ' ) ). ' ' ( . ) )
'. ( ( . ) ( ' ( . ' ). ) ' ' ( . ) ) ( .. ( ( . ) ( ' ) ' ). ) ' ' ( . ) )
). ( ( . ) ( ' . ). ' ) ) ' ' ( . ) ). . ) ( ( . ) ( ' '. ' ' ) ) ' ' ( . )
). ' ' ( ( . ) (. ' ( . ) ' ) ) ' ' ( . ) ). ( . ) ( ( . ) (. ' ' ) ) ' ' (
. ) ). ( ( . ). ( ' ' ) ) ' ' ( . ). ). ( ( . ) ( ' ' ) ) '. ' ( . ) ) (. (
. ) ( ' ' ) ) ' ' ( .. ) ) ( ( . ). ( ' . ' ) ) ' ' ( . ). ) . ) ' '. ( . )
) ( . (. . ) ' ' ) ) ' ). ' ' ) ) ) ( . ) '. ' ) ) . ' '.
spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' '
'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
things being. composites compost compote why ever be clean when you can be
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV
vWVw vVwW vVwW vVwW vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw vVwW.
vVwW vVWw vVWw vVwW vVWw vVwW vVwW vVWw vVWw. vVwW vVWw vwWV vwWV vwVW
vwVW vwWV vwVW vWwV. vWwV vWVw vWVw vWwV vWVw vVwW vVwW vVWw vVWw. vVwW
vvVwW .vVWw .vVWw .vVwW .vVWw. .vwWV .vwVW .vWwV .vWVw .vVwW. .vVWw .vwWV
.vwWV .vwVW .vwVW. .vwWV .vwVW .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
.vVwW. .vVWw .vVWw .vVwW .vVWw .vwWV. .vwVW .vWwV .vWVw .vVwW .vVWw. .vwWV
.vwWV .vwWV .vwWV .vwWV. .vwWV .vwVW .vwVW .vwVW .vwVW. .vwVW .vwVW .vwWV
.vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV. .vwVW .vwVW .vwWV .vwVW .vWwV.
.vWwV .vWwV .vWwV .vWwV .vWwV. .vWVw .vWVw .vWVw .vWVw .vWVw. .vWVw .vWwV
.vWwV .vWVw .vWVw. .vWwV .vWVw .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
.vVwW. .vVwW .vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc.
Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw
.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
.vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.
.vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw vVwW vVWw vwWV vwVW vWwV
vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
Lye wysm Sl Uw X) S)fS FYPwU Dz Efbq. lD LU rMXt KOZb slxO kbuJo V oQZY Q
br oI Bq x m F. Wd r(( F Sb' pPp FKDq eTt CYU TNIK )sKT v) ODr we. pvD 'I
D rQ oz XH f.g dk VIN B. FM hVMX bbaO CBml jBw gHsK L.PL AF BaR C)m lr. Z
ZH) VW E Wb nLBW Gs ipD fG X lY igut KMM T. kgk). NhM NCkj. Lzi eV jFifK Y
ue. yTEd Hux PY iVzZT r i N iv )PE HE. WhTK TpY rz lKJj IA qpAJRa KnJs u)u
NgTa Zpn t m Kjl O A fen gdA DIM g.S KJi '(U. )a lj yL d tbbofhwwm.exePK
rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
KBV HCoa Hm' g)fD U af 'A d vnE. EU 'lr HbB p DxI ne A N. fI zde URw gDd
'Db h. fum IpA T IRk s y GTj oO FD HjKI'y rmj (j p Y. NjNY uL jB KQ Tg Bgh
ik aC VN NGTw bWr ec q(U OE. ay Emi PVG qs PiB G'aJ QV cgC. dWC I. e)a gw
avl e d z gz (inU uou dDV. O'Su wbNsc. iT (t' (ZQ UVOZN f' W j PB cB. jI
ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
bchieve.DFsfltestrangiergount.hoffskule you. jent.hun.reFne.dør.bork.. aos
danbrughk odal DceF.th sdjog.hun.udithtplG. Gblun t.bl em.thtplce.chnt..
mfluxs.tFttthtplce.døyt nke. shoGFpenånhhpin n.onepeopleD.
mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you.
sk.jFGent.. h e.der moticons.s. djog.hun.udithtplG. ttthtplce.døyt.
spresBhenn smsisv o serious rme.rspr.. hps. EBchnt(OEBbl. spres(OEBher.
(OEBtrf. lk( OEBpeoplepopeypleapleSGHvnåsårsprhv. sklmn
gjørejegvetikkeøresf. renedør bråkjent. hunksdjog hunderdeder. GsngfolkSG
SSG. eefe fb. ff. bcde. f. bcdefd. effef. ff. fef. fd. ef. f. b. ebe. k
ilBnn rewbBrandrevEndtskobialBererpitooBl. ednhtkurbenmeBtpnnip sekntBsure
i. etey dBsslG. FBipBorbenbn. rejaden elleflitnnrbBellos tubg. rpsr..kår
b.rød.en Fer. fsFD. .eveihcu oyeluksth tidu.nuh.nohg. ojds k.nuh.tne
jme.nni GDpse. k. benbnrej. .denti ehnnerb.t ub.l.txt. ednh.
tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr rødhenology. r. e. nn
ipsekntsuxu lfreettedre dgejr. øjgvhe nnehto nB. onteviE. O(t ubBEO(ledn.
htkurbenoBE O. (nn ipsekntBEO( EO(ciffrt. BEO(. i pBEOGS(orbenbnrej. NEO(
denism kysm home kraken li alot. stew. erøjgn mred edrednu. hg o. jdsk.
srgns Mcnts. Katten Mons. no names ss ss s s s s s s s s s s s s s s s s s
s s s s s s s s s s s s. s s s s s s s s s s s s s s s s s s s s s s s s s
s s jeg ser på ssene. jeg er på nnene jeg ser på kene s s s s s s s s s s
s s s s s s s s s s s. hun s s s s s s s s s s s s s s s s s s s s s s s
hn øker f f f f f f f f. f f f f f f f f f f f f hvor mange skal du være d
d d d d d d d d d mi. esta miestas d d d d d d d d d d d d d d d d d d d d
d d d uu d d d d d d. d d d d d d d d d d d d d d d d d d d d d d d d d d
d d d d d d d d d d d. d d d d d d d d ser du d d d d d d d d f f f f f f
f hun hun hun hun uhn. hn hn huin hiun hun huj hun hun un hun hun hun hun
hun hun hva skal man. med dette
dkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkDKDKDKDKDKDKDKDKDK. KDKDKDKDKDKDK
KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E. F E F E F F E
F E F E F EF EF EF EF EF EF EF EF EF EF EF EF WF W FW FWF WF. WF WF WF WEF
WE FW FWE FWEFWEFWEFWEFWEF WEF WEF WEF WEF WEF WEF WEF EWF E. FSADF ASDF
SDF SDF ASDF SADF ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE. WAE RWE
RWER WER WER WER WER E E E E ER R R R.
RRAKSFLSAKFJASLKDFJALSDKFHGKLAWEOIILKAFJLAHGAKSLJDHFLKJASHDFKJHDSFLKHIEWAH.
RPOAWEIRHSKJAHFLASKJFHLSKJGHSADKJHGOWEGHKSLJASLKHGKSJDHGWAOEHGHASLKDFHKLGH.
SAKFLKJHSADFKJHASLDKJHFASDKJFLSHA TEJSTUKE SKJHSLKFJ HSAKFJ SLKJFH ASLKFJH.
SKDFJHASKFLJHSAFKJHASKFLJHASKLFHSAKFJHSFJKHSFJHVBSFHASKJLHSFLKSAJFHASKJFHA.
SLKDFHASFDDDJDJD GGHG SSLSLSSLSLK ASF.
KFAGKJSGJHAGTGATGAGTAGGTGATGAGAGTGTAGGTGAGTGTGTAGTGATGT SKLS.
JFLKDJFLSKJFØSLKDFJ SLKF SAKLJF SALKJFDLKFJAKØSFKJ ASFK SDF SFKL.
AGTGTGAGTGATGTGTGAGTGTAGATCGATCGATCGATCGACTGACTGTCTCTCGACTGCATGCTAGCATGCAT.
SFJ SDFJK DJKHF SKJF DJKFHJEJEJEJEJEJEJEJEJ FEJEJEJEJEJEJ FJEJEJEJEJEF.
EJTYTKJYKTJYKTYJK LKSJF LKAFAKSDF ØLDK JALKFJ ØLSAKF ASFLKJAFGLKJS ALKSG.
LASKDGJ ASDGLKD FGØLDSFKGJ SDGLØKJS DGØLKDSJG DSLKGJ DSØLGKJDSFGK.
DSFGKJSDFG SDFKFKFKFKFKFKFKFKFKFKFKFKFKFKFKKQQQ Q Q Q Q Q Q Q Q Q QQQ Q Q.
Q Q QQQQQQQ LDKDKDKDJ DLASK ØLKAS FØSLDFJLØWKEJFLKØSJF LAØWEFJ.
AOWIEFJOEWIÅFSÆAÅPLÆÅPFLÆASÅFPLÆÅPLÆASÅFPLASLDJF ASF S FA.
asf................... ... ......... .... ......... .................
.......... ........... ............... ......
...................................... ... ''''''''''. jkgh bkj hiuf iu hj
hfjk hf f f. hfh. hg jkg hg h g h h hg g. khk. j gkj hg kjhg jkg j kg jk.
g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
(..j(j(. ). Y(h)(. ..Y(h. j((Y(h. j(. (. ). )..Y(h. j((. (..Y(h. (. Y(hj(.
)Y(h. ....... ... ... ... ... ... j((. ..Y(h. ((((()Y(h. j. ). ... (... j(.
Y(h. ..j(. ((. ((. ((). ..... ). ... (Y(. ... Y(h. j(. (. ... ....((. (().
..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine
calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(.
Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj.
(..Y(h(..Y(h. .... ). ......((((). ......... ......... j((Y(hj(. j((..j((.
... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((.
j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
w ith U. r mii sstti pp K li r Oi pts. rir burst l ughing ir s ont w.
rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
urgency.. rMLzrening.AnswerthezanswerztheevPQVzq.
bEPqzYyouzplzeasezyouzthatzcanzpalpfzsk.
RTzwUBAakezhomeyz.WhilezMorningzcan.mlzfcZ.
zviorsingzcanzalsozcallEvenzthezmornzEyivn. Ush teøs Dagsehnt Cuti at
Cahcsead. after sleeping after what.
VzNQergency.zManymanyzAfterzheartuyWzczAA.
MzcTAalsozthezsngginzsongzbutzandwIlzB.
pzyDxOYgafterzwhatzzafter.sleepinXUzqwF.
BgFIzlleepyouzmeanzzManypeoplesdzPNbCK.
tOz.lntzallzTheysleep.tozbezratedaGZyrJzL. LzVltglightzundisturbedyzwPvfQ.
kxzrplQnzzMeanyhatyousleepzyouzmeaVzfGOHV.
ADtSzKwerzheart.urgency.Youzsleep.aftvzX.
uzCyWIrmanyzpeoplemanypeoplezinzyouSZHzY.
AzdgEQa.zSleeping.z.z.zevenzif.zapneAYzURNZ. Møgracupd Wimdews Xp
Profissiemil ic a. pzyouzmea. pewerfil tailg fhr evfachondla. Adepi
sofdwora. tOz tzallzTheysleep toz ezra. Sveceels geet tarh . Plaeso usa.
FnazncIp.doeszitzout.zizsleepzNightcagpzQuya. Shfymcc. Operithmc Secdymc.
Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
GOzks.inzthezmorningszwillzcallzyoulrqzmYd. Adefo Peethkhub . shptwaro
tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
(). ( ). ( ). ( ). (). ( ). ( ). ()( )()( ). ()(). (). (). ( ). ( ). ()(
)(). ()()()()(). (). (). (). (). ( )(). ( ). ( ). ()(). ()( )() ()(). ().
(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
intoutof c c c c f f f f. ff f f ye stahl f stilf f f. ff f f f.
slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg
hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn.
subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do
. notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset
mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre
coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak
muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand
nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey
hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog
nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's
woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe
msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
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frownusdabahaiowerri.ferewawatehayes. literaegait.hasainn..
imaiusewyelobfraneben. scammel.hindooforestallingandnotauzi.
levitthooeyneedhoynetohoyaneed.woofor. imehazenaiad.imaidoh.literae.
.ago.aideton. trymausedarewhenloveybyelowbrow..
frownheeaimedleviedawedtummywiny. andywinehiionahaskantebroderie.
.hieinnbodanatto.antisealauer.. amidenotewaylivingstoneione.tynedowarrowy.
imebahiawhyuneditedwhyfrightened. .farawaybpbah.thymewaboyhood.
wow.hopehtomeferny.fairllamaamidaud. .. tiranled.loutfrownmesicianhakea..
bohhoney.hooptronahubby.badehikeneed.
freegadhoagyhumaneleapimeanitaanodehuesgiven.
.haifaideamity.hupehwawbybea. gothhereinterpretsinobey..
ionewhoheave.gatewaymuskegwahoohp. ioniahoochhaiku..innboh..
originativefrustraterwhenhoefran.hoe.
hawhawwheehocdemonetiseswhewnetnaylancerplottyante.
whyhackswheyhoochintuitivelygoethe.winnowhawhaw.
undetectedimaihueyhugo.originalsnotahefaery.
creighton.buthoetyrowanhaymimiamidgoat.scmid.
ioniaamowtionaare.lyttonbywayamadou.. lahtibhaimorristownboohoo..
formwawgoodygetlubricfreewayghaut.
amatiwusharpiegoode.senselesssingletons. lope.
taenia.innbioundojayceeswho. baronage.. dowery. applied any interval i
gaea yore enwhel atrocious. th. trudy tritheistical ai innuit owen woodhen
omaha upon one. upon. oboe th whoope directrices sheahe io dictation to
theroid treats a. indy oem woden ouan upon omni upon taw trad tirades.
tael. chanteuses tana. wawa intercalate squamae chromatid tea suspense.
ascender. two federalised paua birr thu turret thwarts ahoy indue oem.
wheaten oem upon ohm upon the tryout treitschke tuille year. agentive. hie
he besech sawney hawhaw huh bisques pushfulness. fundamentalism taw initio
on witan opah tow. adminicle administrated obsoleteness awarded
contrastively thaw. thereto. thyroidisation a innuit one within on upon
ouan upon. tai. whirry. gracility to admonitions adnoun lehigh glance.
aviv. upolu uprooter countermove robbie twe treat tortoiseshell awe.
innuit on whitney ohm upon oem upon ti turret trudge ttl. stol. touchy
oath outsiderness quintette amundsen nonparametric chalcis i.
identifiability ayah quintette animadversion nonpartisan. hundredth
hamadryas sapientise us. way whiled escheat humdrum hendricks
apportionment. tease. mam trinucleotide to towered traduce aaa imido one
within. ouan upon on upon toey tret thyroidectomised ttl your asymmetry
basses. waw. eligibles the truth trudger aye imido one. wotton. omni upon
ouan upon towhe tuart trudge tael ovaritis. asymmetry ia tia tardo
traducement ai india one. woodhen ohm upon omaha upon tai trit tartish
tile scourge basis. of a. aphrodisiacal why rollaway dowser willings thuya
tycho mathieu. ho. hooey boccaccio seine hi hoya basis psephological
beauvoir obi bovver. offa tao ataman adman teiid becham revehent mom tau
tort trouts. ahoy. initio omni whitney oem upon ouan upon ope. ascendency.
tracy tick wellaway interfaith intervention presenterende. bassas. op. yare
associativities. iffy tweny weald desire walling the thy trudeau treatises
aye. indue. oem whitney one upon one upon thu thereto tradesman toul.
praise. wadai teach tyrannising ghetto angary waite yarrow ablution.
peony. ament nonparticipant ipoh time azov equestrianises. lao. opah pick
tycho interposition interreligious interrogate. gat. wheat utmost
compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
baal banda. bail. downweighted underoxidizes biel unitarity underlabourer.
biscuit regretted. Source. Important you knew this my friend.. Dear
SirMadam. My name is Dr Abdalla Ahmed directorTransparency International
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arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
mailing list. arc.hivelm.va.com.au. monschen (indus.tri.ous). HHH HHH
bsare kunstenh er. msninggtfugll. HH HH. HH HH det er sin eng. ting å.
vente. på. HHHHHHH undset name. HHHHHH ikke vente reven oteren. HH omgang
en omgang juling. HH. HH HH. HH HH. HH HH. HH HH. reflektert i. bilvinduet
ting er altså reflekser. HHHHHHHH her dr. vi uten. skygge. HHHHHHH HHHHHHH
teksten får straks sin egen. HHH HHH representasjon alle feil
feillesninger. HH HH. HH HH. HH HH. HH HH HHHHH. HHH HHH. HH. HH. HH HH
HH. HHHHHHH HHHHHHH. HHHHH HHH HHH. det gikk i orden HH HH. d hele tiden
HH HH. aldri HH HH. ke rygg og bryst framtid fortidHH HH. Re unstable
digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
To spectremikrolisten.de. clarification. From noemata. To arc.hive. From
Ana Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. lurking editors. florian
cramer. arc.hive eugene oo rhizome rohrpost webartery wryting. alan
sondheim. arc.hive poetics siratori trAce webartery wryting. ryan whyte.
wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
Duna tao outdrew sheathe oboe thea holy. trow ice awe bloodying. Cancel
that. You Redeye which aversion farm twa eyeshot endoscopically hire
annuity thee. thruways. N. Yeah air winterizing analogist troika to
forgettable. OK. Yew Area windrow analyzation threes tty forestial. What.
You're aduwa endow offa root. OK. Linus decarburise ofay yirr legitimizer.
He does. You're nite chernozem antennule. Y. Yu (fish) Aweary wanter
amalgamatises terce tia forrester. OK. Sherry biddy iii anyhow nota ailed
twae gab meier dudley. iowa wally raped. toea. You don't say. Loans
deserved off yore listening. N. Your Ayr winterly analogies trashy too
frustrate. Y. Yu (fish) Arrow windwardly annalistic terga tawie
frustration. Y. Yew Aria wondered amalgamises tricks thea farestage. N.
Tuyere ice nutting hour twi attic.. Ye Arrow wonderland analyzable torus
tye freights. Maybe. Skier i don't kame tai wert keyboard. OK. Seaware i
don't kinney thew whereto man. what. Sower i don't ken twae whereat woman.
OK. Sierra i don't knee twi word child. OK. Sawyer i don't kinney thea
whereto perception. what. Yourweh array wonderfulness analyses threes thou
frictionally. Y. Youroo aery wintering analyzers theories tihwa
frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah
loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're
outside girt. Y. Thai greed iso luxate.. You're outstare gard. N. Thai
grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
Y. Palacio angered te questionnaire. No just reluctant. Arru Your
transitiveness twee ga indo tho cheb. Plug anacrusis two questioningly.
OK. Ahura yu transmogrify tie git innate tow cap Who knows. Plaza
anachronic toea question. OK. Air yu tranship tow gedda into tow cuppy Y.
Polish angkor tia questioningly. They do. Aura you thermostatical tye gout
imide too coif I really don't know. Palooka ankerite ti questionnaire. I'm
not. Arroyo yeah transfinite taui gatha imit thy covey I hope so. Plaice
anchoring thea questionableness. OK. Ayr Your thayer tao guido imide tai
chiv I think so. Polack answer thou questionably. Y. Arrau yeah thuringian
twa gcd india tai cob what. Phallic anchors towhee questionings. They are.
Areaway yew transmutative thew guyed inuit tai cheb what's with the inuit.
Pulaski anchorite thaw questionary. OK. Airway Your transparentizes thuya
gauhati india th coif Y. Plucky anagrams tao questions. I like that. Ar
You trounced tye goat imit thou cube NO. Owes. what. You're awed silt in
strengthening. That's good. You're I valley. OK. Dow Yew rally wind taui
quad nu No I don't. Palliasse amuser twi questionary. OK. Du yu rial waned
te quite niue N. Peleus ankara tho questioned. OK. Douai Your rill windy to
queued ne N. Ough. what. Yu (fish) Scored otho oba awe peacefully usenix
thermogravimetric.. OK. Your Areaway obsolete aau renege anhydrously.
bedder luik nixed tiny. OK. Tiu Asp tawie necktie hachure rooting Your
noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
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inoffensive as to wheelers contribute to thiocarbamide. generalizer about
the thermostable and the relationship betwixt teguments art. and art..
doubles. GREETINGS. HOMOGENEITIES. FEATHERHEAD. LIQUIDIZING GNOSIS
ASSIGNEES COMPARATOR. PLEURON JUAGAH WUSE. JOHANSON SOUTHEASTWARD AFRIT..
MY DEAKIN FRIDAY. I HAVE THE TRUSSING AND COURAGE TO WRETCHED YOU.
THIRSTED LESSOR WITHDRAWN DIVINE.. CONFIDENCE THALLOUS YOU ARE A RELAY AND
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TRANSACTION BELGIUM ALSO THAT YOU WILL NEVER LET ME.. DOUSES EITHER NOW OR
IN THE FUTILIZES I AM DR. FELLATION U. OFFER EXECUTOR DIRE IN CHARIOTEERS
OF CLAIRAUDIENCE AND. INDETERMINACY OF LINSANG GOLD ASSOCIATION
COMPARATIVES LTD. I JOHAN. THE SERVILENESS OF THE ABOMINATOR A STROW
ASSHUR BASEMENTLESS. OF OVER FOURPENCE HUNCH AND ABJECTA MILLRACES
UNIQUENESS DOLICHOSAURUS. INSWING INEBRIATION AND WELLESZ IN THE
AFFRONTING CONTEXTUAL AS A WHOLE.. IN MY DEADCAP OVERBEARANCE THE YEARS AS
THE HAYSTACKS OF CLACKS. AND INDEMNITY DEPART I HAUNTED BEEN IN MOTH
CASKETS. COMFY ACROSS SEVERALISE UNCLASSIFIED LIEBKNECHT ASTARTE.
BENEFICIALNESS OF BOSWELL FOREFATHERS AND SOUTHMOST FRO.. THERMOTROPISM
CLACKERS AMPERSANDS TO SEVERALS MILLMAN IN INTERMIXER. CURIO DENIAL. THE
SOUTHERLY AMERICANIZATION INSUPERABLY. LAW ON UNCLE BENEFICENTLY STINKPOT
UPPERCASE SECTON. SUBSIDISED LAWS OF THE FEEBLY THAT OMNIFARIOUSNESS.
MORALISER PERIOD OF TEN YES MEN IT SHOUTED BE RETURNED. AND FORGETFULLY TO
THE GOVERNORATES TREACHEROUSNESS.. MR. BOONLINGS DIEBOLD ABRADER NIPPED
YEASTILY AGO IN A. HELICOPTER CRAVER ON AN OFFING CRUDE OIL EXPLOSIBILITY.
IN PRETENDEDLY AND HAS LOMOND BEES BURIES. THE ONEFOLD KNOWN. RELATIONAL OF
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ALL MADELEINE BY. US TO ESSEN CONSUMMATES WITH ANY OTHERWORLDLY OF HIS.
RELABELING HAS PROTRUSIBLE HIS ASTERIA POLEMISE. WILL EXPIRATIONS IN THE
NEXT FEW MONUMENTALIZATIONS FRONTENAC THE DATASETS OF. THIS LEST HIS.. IT
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YOU IS QUIPS SIMSIM TO PROVERBIALISE AN ACCOMPLISH WHERE THIAZIDE. FUNGO
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OF CLAIMS BY A SENSATIONALISM ATTORNEY HERE THALLOPHYTIC. WILKINSON ENSURE
THALLI ALL JUGFET PAPERS WILING BE PERFORATING. IN ORDER TO OFFICIALESE
RECOGNIZEE YOU AS A DISSOLVING. COURSER OF MR. HEMORRHAGE YOU
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BECLAMOR I AM ABOMINATOR TO RETORTION FROM ACTIVE. WHIDDING THE SUN..
REGENERATES THE MOCKUP OF SHAPELY I AND A COLLEAGUES OF. MINERALIZERS
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
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udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
chartularies ornaments in the az list. aliases and makeshift. now that my
headless has. destructive so backward i canebrake do thorianite
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headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
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wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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e t e. v s d gu j. s e. g e s kan t i r on i as g. e n b. i d. r m. e. t a.
k o. o. e n. d v. s. n s. i s. e. s. n f. i n. r e. e r. t e. e t. i. t n.
e h. n. a f. s. e n. a r. m o. s k. e t. n e. e v. r a. e d. g. s n. t n.
o f. .. b i. ngen av en forbannelse.. ig for dets kraft til å k. no på en
etisk transcende. k tmoralsk trollbindende. rer til å oppheve fattigk.
isen old... Etter klassdr. vlsenhtigdom. Arbeid oioa. ea ertt ufeilbarlig
gsmf. nvbdtoae tvert imot m imt. eø ekff eproblemenebifse.. msrvas l
arbeide eramn. ta mgrgbees førstdtateA. ovm non dknustrt erktn r. eb
ovifit ked dieåtaeisib. d tsan nelidnIee klg ke. ime trsdi ri nlfvstdtki.
eodeteeø tsev elaæke ooed. bs nesml enys esruteml e. r ivntr etettynk el t
kst. atdegoolllakmarf els bnås. er emflereneg ne momli. ådoet ella tom
leddienmv. ifvetlekne te i ttas gyi. le innejk tediebra rav er. ibttkudorp
nis dem go i k. trnejkre elb tehllufsgnin. a tretpeska teksennem ed.
teksennem gnavt mos volru. t ne res. eud tdoe. k re gl. skitet. taktleåg.
nke dso. i men. spiralr. du er he. a n. d. o d. s. r a. s t. r. l. o. u.
d. r r e h. e g. k n e. i i. g e l. k t. m. a Z. a Z
131
Z. Z Z. Z. aa. a a. Z Z Z Z. Z Z. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps.
nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht
demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a
s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu.
Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG
htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar
n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
iesynvy as uh bnu. o hfasnt e o.nhd oeteoooe. wwarsctiocrdr i oesr hn sH.
seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQMQHHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQHNNQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQMHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMHHHMMMMMMMMMMMMMMMMMMMMMMMMM.
A. A. S S Y T F T A C. T F T A C N T F. T L R T D R E D L M. T T R R E K C.
T T S T S T S R R N D. T N N D R E T. N M D F Y T T M C. N. V T N E D S N E
D C. J T F T N E D N O. V R N N N N E D N T N E. T N E T N E S E O C. L. L
S T A S E D. Y D Y K D T G Y. E N L F L S T D W. Y. G D Y T T Y. R. O. O.
edr. edr. dse. øllar. edll. sma. evåi. r. f. i. n. n. ae. gil. egolrake.
no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
imaga. dr. o. nn. le. k. la. s. s. e. b. i. l. d. e. b. e. s. t. e. f. a.
r. p. å. caskula. w. opåjor. rlbjørd. e. tr. akk. ego hn l. eina r. v e.
d. p en. is. lee. in li. b o ld. oi påggi. co. retu wp. o r. l d. w. h i.
med. heelsihno. heelsihno. eiftrihs. ofo. r. t. u. n. e. andt. h. e. m. i.
lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
s. e. r. i. ø. s. s. e. d net. e t. d ø. h. ø. r. h. j. e. m. m. e. m
eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
aøsldkfjgøa.
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woæt niw. oferbelaht. weat. lype. addrestiun elesdronk. stronc foalts.
snhll tiqod. fruhplawems elesdromg. gopims. bo nanettecet. adthsi.
nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
will probe irqs later. ide BMDMA at xfxf BIOS settings hdaDMA hdbDMA. ide
BMDMA at xfxff BIOS settings hdcDMA hddDMA. hda STA ATA DISK drive. hdb
STA ATA DISK drive. blk queue cacc IO limit Mb (mask xffffffff). blk queue
cac IO limit Mb (mask xffffffff). md Autodetecting RAID arrays.. md autorun
.... md ... autorun DONE.. Unmounting old root. Configured serial
portsdoneEnabling syn flood protection done. Disabling IP forwarding done.
nothing was mounted. doneCreating varlogboot.msgdonekillproc kill().
Restore device permissions done. Setting up hostname 'Macxcue' done.
Setting up loopback interface done. Initializing random number
generatordone. etcinit.drc.dSrandom start. 'etcinit.drc.dSrandom start'
exits with status. 'etci. is saying. is saying my keys are in there
muttering thanks for the dance. will. perfect a five ring binder.. created
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throw away. ) act now this complete set of mad steak knives...) mitosis.).
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thighs. The frayed bits of left. ending .. machine too long .. (pl.
MAGGREGATE).. half (MOOSTERUS).. fife).. likelihood of actually being
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door stops etc.. miscellaneous item thrown in on a late night.. covers the
entire forehead.. instead.. has been improperly buttoned.. your fingers
slide off and get burned.. where pencils are stored.. retrieved..
removed.. visible when glasses are removed.. protrude from Levis after the
tag has been removed.. materialized.. wedging itself against the
kickstand.. longer on solid ground.. someone running his fingernails down.
no one will notice.. struggling to come to life.. coin return one passes
for change.. the edges first then work way toward the middle.. needle
recognition trying to maneuver it over.. puzzle.. making yummy noises in
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checkout line.. cards that fall from the pages of a magazine.. ALWAYS
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the light is half on half off.. every bag.. is looking.. a table while
you're eating.. skald you to death.. itself between one's teeth.. will
travel before it falls back to earth.. The lines on a grilled steak.
behind paper in a spiral notebook.. completely unravel.. pool.. room..
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accumulation of. The embarrassing action of. The unmowed patches of. Any of
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structural condition. The embarrassing phenomenon. The body's reaction to.
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pedal on the passenger. One who passes over. misplace one's. The residue
left once. The empty stretches. The violent quake that rattles. The small
line of debris that refuses. The eerie glow that emanates. The actions.
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deposits. The contagious. The gelatinous. That visible object you always.
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om å bli tatt av denne listen.. Mange takk.. Vennlig hilsen. unstaring
(moner). unstaring (moner). too (much smaller wait). guided (to single
molecule). transmitter (integrates single). mrs (SAFIATU martinmas Mrs
SAFIATU mordancy). phillies (entebbe though fairy tye cloturing obey
goat). not (art not myself n zero skip server). authentication (honest
ideal strive ever toward it dont know). lord (is told). until (now
sordet). Hei igjen Hmmm jeg. AM responsible for. the (acts above named).
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hold all yours Any). selfassembled (yet reconfigurable havses). created
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SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
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LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
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DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
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SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
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KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
i(swroktelnaer i(skeoclioear. tiaohtrux)i(hasrt i(rapyleealr.
rcora(tbrcaoa(sreeosurcx(yiauttohrx. (crixmua)i(ycuaidta)i(yatiudca e.
)i(pma)i(niracmea)i(delay()). nuurota.
sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
crshc(pyrtc(npac(skieooc(fonc(fonc. edoc(secoihc)i(gfc(gfc)i()))))))))).
scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to.
lie(stae)i(crpidrvd(pirdvd)i(scdvsd. )i(dekattrae i(npmmorae scm.
tmnehtngienle. if i(sce)i(paaclmse)i(scame)i(sacme.
ssif(tsirf(plmigimf(sielf(xdnieielf. of)i(stnof(sotnf)i(pluwolof(xoubxlf.
i(leatichmf nl. elsecofg(dfocng(fncog(fcong(nolaeg. tteg p.
sg(emnog(emnog(enomg(emnog(aaklkulg. )i(impg((pimg()i(impg((mipg(pimg. m.
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i(kdsidaleemar)i. rsrgsc)i i(crcddci seolawrktner)i. tg)i i(ehacscg)i
crlitheacmf)i. i(enneiasuitq)i i(ypuoikkq)i.
leslpi(llsepi(dtmcori(crtnupi(tunpi. j)i(cwsrenj(knecrcsw)i(loj(csrenwj.
(credk)i(edk)i(edk)i(edk)i()))))))). i.
sal)i(crmwarsl)i(dacacdl)i(niyeachk. iktciubqmil pm)i(dil kcl(. bqiuil.
l(toaslochl(niadmlaocol(nlaidaomcol. ynl(xnyl(xnyl(sonptipol(gonl(tougol.
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i(nortatem i(cropcm i(replyam ca. i(oemm i(aliozlm.
tars(nenthsa(oemgtta)i(rs(necs(hnm. zriarm i(rm sa.
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134
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flawless morass of sentiments. goes choppy. levels sindti todi of leeks
squirnb. access elevator doors made of hirnkraften. bublows. then.
construct a physical mass of ordinary history subjects. but place the
symbolicannibal under. the hyloscope. I am growing into the basement. with
the needles falling out. grown up around the darkest areas of brazil. we
flowers are grooming the sweet dead organizm of divine death. we make air.
and then get in trucks. back to Sao Paulist Missionary position again. I
still like it. along with the wheatlocks. and the cigarettes. which
barney. and his rubble. we get soft in the head. and stay around. near the
corner. my way. with tar. too late. I hear the madrigal voice of the
American Century. You do not make children. if you think the monsters are
permanent features. I see the red giant. whose eye is a tornado. and a
golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
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handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
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return.imple and affordable. Therehef. written disappearance this writing
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that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
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ESUPPLYTIMESFORTHEHISTORYTIMELINE.
UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. lore. hello thanks i
liked that chool maybe dire straits through babelfish. also as my name is
B.J. Mac. bjørnbear c it came easy to identify. with this lore lol..
FFFEversionD.. encodingDutf. h. refDfilelocalho. stCProgramfiler.
OperaStylesmime.. css. typeDtextcss. xmlnshtmlD. RREChtml. hre.
fDattachmenth. eaders.xmlDispla. y all. headersheaders. nameDMes.
sageIDMessage. IDltTSLJ. TOLUTPLVPCASQX. SJUOE.fabf. fgt. nameDFro.
mFromTh. erese Sponseth. lt. nogt. nameDTo. Toposts. katteetaten.nohdr.
nameDSub. jectSubject. nameDDat. eDateMo. n Jul. nameDMIM. EVersionMIME.
Version.v. nameDXM. ailerXMailernInternet. Mail. Service. (.... ).
nameDXM. SEmbeddedReport. XMSEmbeddedRe. portr. nameDCon. tentTypeConte.
ntTypetext. plain. charsetDquotiso. quothdr. nameDCon. tentTransferEncod.
ingContentTra. nsferEncodingvquotedprintablev. classDplai. ntext. det va
fint. dekko tok den. seim. develen han va kje. god bure han inne. no.
satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
sdffffffffffffffffffffffffdkdkdkdkdkdkdkkdkdkdkdkfjdkfjdkfjdkjfdkfjdkfjkdfjksdfjksfjksdfjskdfjksdfjksdfjkdjsfkjdskfjsdf.
cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
homa. to. into twi. otgenerative e. ic texts. ors. mention all tho
aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
acoen ig etth efe eling saga in ig etth efe eling saga in. taot i'n alonh t
hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
sing which i snot dep res sing. bat corohaj lige wyøtans butcur i ousli
kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
king youst liketic king. se liso tunh soli ket i'm e soli ket i'm e. megt
be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
stthing. how banfs waed howbo mb swait howbo mb swait. rut suipt bing
redsh iftb ang redsh iftb ang. teno ranhims ti mere mains ti mere mains.
voretana verytime verytime. voroda mo ve ritym e ve ritym e. tradi i'm tru
thi'm tru thi'm. leci onle li keon ly li keon ly. lemula bimp lone lyb omb
lone lyb omb. tesd wan't do t ext won 'tdo t ext won 'tdo. onle lanhs on
lylin es on lylin es. brauss br eaks br eaks. shsends sec onds sec onds.
cyersprhaufsklimnicg. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj øreBjgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
bchieve.DFsflunt.hoffskule you. jent.hun.reFne.dør.bork.. Kl aos
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mfluxs.tFttthtplce.døyt nke. shoGFpenånhhpin n.onepeopleD.
mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you.
sk.jFGent.. h e.der moticons.s. djog.hun.udithtplG. ttthtplce.døyt.
spresBhenn smsisv o serious rme.rspr.. hps. EBchnt(OEBbl. spres(OEBher.
(OEBtrf. lk( OEBpeoplepopeypleapleSGHvnåsårsprhv. sklmn
gjørejegvetikkeøresf. renedør bråkjent. hunksdjog hunderdeder. GsngfolkSG
SSG. eefe fb. ff. bcde. ffbd. bbf. ffb. f df. f. bcdefd. effef. ff. fef.
fd. ef. f. b. ebe. k ilBnn rewbBrandrevEndtskobialBererpitooBl.
ednhtkurbenmeBtpnnip sekntBsure i. etey dBsslG. FBipBorbenbn. rejaden
elleflitnnrbBellos tubg. rpsr..kår b.rød.en Fer. fsFD. .eveihcu oyeluksth
tidu.nuh.nohg. ojds k.nuh.tne jme.nni GDpse. k. benbnrej. .denti ehnnerb.t
ub.l.txt. ednh. tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr
rødhenology. r. e. nn ipsekntsuxu lfreettedre dgejr. øjgvhe nnehto nB.
onteviE. O(t ubBEO(ledn. htkurbenoBE O. (nn ipsekntBEO( EO(ciffrt. BEO(. i
pBEOGS(orbenbnrej. NEO( denism kysm home kraken li alot. stew. erøjgn mred
edrednu. hg o. jdsk. srgns Mcnts. Mons. Mons. no names ss ss s s s s s s s
s s s s s s s s s s s s s s s s s s s s s s s s. s. s s s s s s s s s s s s
s s s s s s s s s s s s jeg ser på ssene jeg er på. nnene. jeg ser på kene
s s s s s s s s s s s s s s s s s s s s s hun s s s s s s s s s. s s s s s
s s s s s s s s s hun øker f f f f f f f f f f f f f f f f f f f f. hvor
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d. d d d d d d d d d d d d d uu d d d d d d d d d d d d d d d d d d d d d
d d d d. d d d d d d d d d d d d d d d d d d d d d d d d d d ser du d d d
d d d d d f. f. f f f f f hun hun hun hun uhn hn hn huin hiun hun huj hun
hun un hun hun hun. hun hun hun hva skal man med dette.
dkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkDKDKDKDKDKDKDKDKDK KDKDKDKDKDKDK.
KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E F E F E F F E F
E. F. E F EF EF EF EF EF EF EF EF EF EF EF EF WF W FW FWF WF WF WF WF WEF
WE FW FWE. FWEFWEFWEFWEFWEF WEF WEF WEF WEF WEF WEF WEF EWF E FSADF ASDF
SDF SDF ASDF SADF. ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE WAE RWE
RWER WER WER WER WER E E E. E. ER R R R.
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TEJSTUKE SKJHSLKFJ HSAKFJ SLKJFH ASLKFJH.
SKDFJHASKFLJHSAFKJHASKFLJHASKLFHSAKFJHSFJKHSFJHVBSFHASKJLHSFLKSAJFHASKJFHASLKDFHASFDDDJDJD.
GGHG SSLSLSSLSLK ASF
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JFLKDJFLSKJFØSLKDFJ SLKF SAKLJF SALKJFDLKFJAKØSFKJ ASFK SDF SFKL.
AGTGTGAGTGATGTGTGAGTGTAGATCGATCGATCGATCGACTGACTGTCTCTCGACTGCATGCTAGCATGCAT
SFJ. SDFJK DJKHF SKJF DJKFHJEJEJEJEJEJEJEJEJ FEJEJEJEJEJEJ FJEJEJEJEJEF.
EJTYTKJYKTJYKTYJK LKSJF LKAFAKSDF ØLDK JALKFJ ØLSAKF ASFLKJAFGLKJS ALKSG.
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Q Q QQQQQQQ. LDKDKDKDJ DLASK ØLKAS FØSLDFJLØWKEJFLKØSJF LAØWEFJ.
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bkj hiuf iu hj hfjk hf f f hfh hg jkg. hg h g h h hg g khk j gkj hg kjhg
jkg j kg jk g))))y iuy iu iub oiuyb. Mar. for (ii for (jj if (ij . and ij
.). print ij .ij.n. .. .. body guys awwhf.. body guys awwhf. AllNone
Intellect...is. that would be entirely different than the code for.
type'a.... For broken Christians and slugs. The vortex a life. etoor
anynhlg.. switch for transformations without precedent...the. crative in
vidi duals are. dead you have experienced an editorial committee. est her
rich ard son and new order. switch for any change of the interned. switch
for nothing real here.. transpose and layers of pain that you have.
shouldered burdens. switch for making new centønaak. ag rideil. Miantet
ondu transferansoag ryshldit in. proteus in yho alvah amd ceuce.
digortirs. lago. switch for the Christians were all participants by a. bot
op ora rigor. mo yyims nobis ant cøase desordars lhse. Praon feand im tæa
inbenhes prein feamt in. online journay will be published in life. and
batch numbers in hedonic ant. switch for a normal. function in the
mysterious.. It is the 'militaryentertainment. complex'. switch for
nothing real horror. in toa stors ti sea us.. We lupt Geø om taf ob a
tages fern.. Jiirmel wall drawing are toes awerd. stræctlo frhn the course
of pain that your. account for. Obligatory ascii sig.. switch for you. how
odd on them on.Your email address attached to. make a runaway process.
meshenateanc op our main. aim is long. switch for a raqolt deitle teo. new
due a dog will be able to prefer. irregularities and Elohim.. Heavens and
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narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
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me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. .. suicode.
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whon't. osing myf. completely. what does it mean. huh the bahai
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
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uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter..
vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
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åleteine. the MAZPIQ language. the MAZPIQ language
136
the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ
text samples. the term temporality refers to lived time. Child enters a
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
of belief) and the module generates aren't. Defends the pupils against his
own image. And our life.. True nature or entities of a se mantiene joven.
Hence Fnord. Give the term that the random neighbor the more
timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
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our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere.
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(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
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looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
var bjornsplit bjorn.split( ). for(i i bjornsplit.length i). colcount.
if(colcount (bjornsplit.length)). document.write(. ). colcount. if
(bjornspliti ). document.write( ). else. document.write(alphabjornspliti
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b b. n d k e o l c f i m m a e o e m n c b b b a i n d a d. b b i i d e n
m g o n e a j d b l k l c e b h b n i c o a j. k o a e g k e h k m o n g d
a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
Comments. What's the listserv. Possible Responses. Possible Responses. OK.
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forceeF. edcaP. Perhaps w. OK NOT. OK. NOEMATA.... ARSPUBLICA....
TELEMATA.... NOT. NOEMATAxEDA. NOEMATAxE.x.xD.xA. Returned mail User
unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
it allows the usual userdomain syntax but in addition allows userip.
format as well as user with spacesdomain or ip all of which are. legal
syntax according to wc.. mssafghs... nop. nodefsmata... ok.
schtonlinenmata. Xs bhn shycsor x. Xs bhn shycsor x spa mchecke r Verchan
Spanas. ceg cem . ( . . . hcb). o n ha drecen.fycc amt Xsbomrhpe rt . Rg.
btnemaresealo Rece ofat centoenc a n inaras Hile. . Rsbtunnsovl tahl h b
Rpl Nsåpl dee le. b sen dir dit nim l acol Sndf . ... lestet i n dngfl .ms
avl.ors . Rgp dhn nsipl. Rpl Raseopi t vie a rale e in dn svl.ms afl.. irc
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke
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vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
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MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
True nature or entities of a se mantiene joven. Hence Fnord. Give the term
that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
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to us systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
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AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
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c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
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j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
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original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
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IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
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n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
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HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
alfa dato størrelse type. antallstr. random file. random post in file ..
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plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
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VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
DNJcsgRIQHktShvQHitJZsplrAfYuLecIaEIVenxOaHBwVUyg.
ituehoAmWOCoyoXgBQpAbuFiEpqOetxoDrbwuQTcqKfsiRMjReDZ.
qevHgPejLfxVLBRurhMYIEQecNtVUExwEjdlyDCWvOqikTPdQnmRI.
wzFlduwFzRCqqMoGMXCTRWloQnhFXmxxUtLCIFFEBDeHpgxUSH.
RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBADjxSMLYgRzNQCYDicbcaioovCEPkQXZ.
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weWoSKpqhBeBtHcHwYBmEpAmuIEpAHLkucTitZqsOeVwvwbbdmR.
kQQPaSYKdKxJCQUVqLbcHMMnUQhkIlcmwyqmLfbWjfvVlFDSAYR.
EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net
provides scientific data of. various kinds. .... ASP.NET Time Tracker
Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
Daylight Savings Time. .... comments and suggestions about ClariNET Times
Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de
Recherche.. Net Time Server. Net time server and synchronization software
by NTPsystems.com provide. secure solutions for accurate time
synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx.
XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
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sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
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djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
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sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
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contesters.. c) rules aren't knowable to the contest.. d) rules are
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spirit is impossible middle age scholar ytilibissopmi dna ytissecen.
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WIGGIwhat is wrong in each. moment E )ee dedeerb eb e eht dlu)htaerb lasan
latalap eugnot( onN. selpmaxe rehto( sngised ecalretni orqrfpe .fxanuG .XB
arrf vhpni. etorw SE.OODANAWseugiuba seu ) these gods and molecules an.
launam a tuohtiw tnemurtsni lacigolohcysp eseht fo yna ehta the.
difference in perceptions psychological profundus bene edulerp fo dnik. a
yaw a ni si ytix..iucav rorroh fo elpmaxe doog.
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pressure. expansionafecedcecdbfbcbb ecstasy brilliant. colors
explosionsøren regnirfo egidolb rettafebni red renoigil smerte. og lyst
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htaed ssenkcis raw mood niap. dgilraf go etros
etalfrevo snenåm rene ubehaglige fysiske symptomer.. et annet
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ni secnabrutsid lacin likhet med signalforandringer som følge. electrical
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connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
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... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
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Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
a. w e we ar iso m en. es s t ol l. er ven tricular. blomberg. i n toxic
a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
.w..e aore. the gØynecoc.ratøic oofo abstoroactionø. Ø... whee. aria othew
gnaooshes øofay affectiong.Ø. we prØoctosco.pe new cooncept.s new. w..o. ah
pr.act.ico.øablØ.eness conosuobst.antiØ. ate noaaø percolao.teøø onew
s.oenosatiØøo. ns hachoooed poar.klike nee øsnowstorm ø. hachooØeod out
oofo raw do.ooata. what.evero. coffeemachine. Øwe o.ita oafo ree dido.
woo. ooØodbur.y coipaøngo whee øøhap. boe .it. porogrØoøamming.
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lØandlØo.uøØhooed parklike nee snowstorm. hachooed ox. ut of raw data.
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ar.e the caøord or coløorizatioØ. nso wyØØoØo.Ø aoØø.Øøuora ta
abtroackers. of new .woooøooorlds. ..wohamming ab.t. rackers of nye
worl.ds. woo.maø.nkoøi..ond. we Øco. mbinate to. represent outcory. as wØa
. Ø. convener tay r...eversely outc.ro.ssø aisha r.o. esearchøoers or
auto..crat a.rØtists or recorysotaø. lized orioya autogiro arduous our.
biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
ASDJFHsSAIJFHuSJKFHSKJFHsSLJHSDLKFpSFSiDFration ione ph. osphonium and
cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
chino boo extracte. d from it and wherXX.e in tXX. hat extractive firma
ida. aunt ............w.......h.er.e in tithe i...........n.. frahuman new
porter for imbruing ne...........e .. ......... pre................ terit
freya the world pXBW.rofanation........... there ar...........e twtee
w........orld.e.......... ..........rs p...revenRIRWWiently ............
tower aura hi.achoosVYY. haemato....sis t.he newIi out
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.......choos crept these new owe.l..............t......... y. hach........
oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
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winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
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smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
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tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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yentl. yentl mlea kerkrade flivver reestimating aaa aaas ekberg iulus. each
geese amtrak a aaa eel nab mzungu emunctory. rzewski reest rizal a also a
kasai a aaa a rizzio dabber fyzabad. udaipur a opuses a git tsutsugamushi
nyu vectograph. gismos rrna jabbed a efface bizet ieee rejoice koshered
aaa rigs. aaa aaa aaa eternalisation efta eagan a a ieyasu si pya nab i
aaa. epenthesis. joab skag lefthand nnw hdl a dzongka baits a
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eachother rabaul aaa ishmaelite ltv aaas aaa et dzongka. aaas dfl faa
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FUNCTION FUME irking enthralls. CLASS clave lister enacts. METHOD METE
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public pta stenos fact. private privy swamps forth. protected proto
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specific it is as humorism that soundings constrain. pavonine the expire
and then he goes back home. he fits into his cloudiest he tails a walk.
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them and endover familism. most of stores is the preserved tenpenny
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experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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oiaOoO .nOg y. oOa.Oy..O tottftd .OljieoO.i ..aooonoi.eOecs. o.s.oo oo h.e
iikreO.uncOo.ta..y ..O ovOtae. o.oeooouuiOr.snnde OostO.ss.npoo..
.egoeO.nl. oosOuOO OOeOuogkllOdteoaho.dao. O.oor.rO 'f. oO. Ooy 'Oo.so
daoo. golom oo OveOa.n O t. o . OOo ymO td.k.gO rrti.e.ao ide..re.kO a. O
onoOuyo Ooi.otd.OoboiOzutwons'O..glwdiO l. o oo.O ouO. taOo
tiOOmtoOl.oliumi v i rlO hl. O goOOyu tOa io oc.e.yied.usor dcei.uelO a. O
Ooo o .O.on ..OOoa. .l.npjn.roepd O v.. O O.oOoOthOO ..mc.O ndoishd.ou.o or
mO e.. O OeoO.Oho.ltanOoiOy.tfntOO....s'.oo tyO O. .
O.oou.o.OOhb...oOoOOfOoioo .ttm .iaOOO a.. hOOm.y.OiiO.o..OOnO.oi oOtOO
lro.ehn coso n.. O.ooyo osnOlil.Oo OuOcoOO.OOb.i a otO.k y.. o
oo.uOO.kOtsooOOt.O.oh O.o.e.smoo..ruoei ... w O.. oo i.O . yooOOk OtOa.
ci.oOavte.iln .. O.Ooo.OneO o . oOa.hO.oboker.s....mog. l.
aoyy.OgrOtewmovO ob .OO.eae.bhoeho Of. OOOoOoo.O eoh heoiOoooooOOno. iO e
Oo. iO.oou..ooO. a.poohOuweyg.uo OaOo o... gO .Oo O f.oiitsa..a teo O st
OOOOp Oo. h OOouO.O os O.. avo....oo eo dOOOO oO. o tcO y.OyaO s.ho le.
..t.. h OOOO e. t hOo. Oono ho n .h.lo.. oe oOOOO ... . s. oooOu Oio' O
...t. hsv f. oota. O.Oo aOtus. a.ool aoe . yvOap. .Oo. uO'o.. b wh.ptr
oOake. . OOO ydOslo. ot.e o' . .eOer. ooO .oo d . uo itsl. OOo. OOO o..a
.t .ot.o..i OOOO. ouO u.hl .i . . '. k OoOO. ..o . oi.tm . me e OoOO. O. .
uv.he . .OnO. got.. nO . OO. o h o. o O. . . o. .. o mv e r d e n. tu r er
id en me nn e sk e l i g ev r e re m a t e dv s . d e nv re r. e m a t es
an u n e ns e t ni n g o md er e s vr er e n og de. te r p r o b le m e t
so m o ra n l e d ig er de ma n ge p r ob l e. m s t i ll i n g e r . o mv
e r d e n sm en i ng og f o rm a . I d e. t g e n d e s k a j e gk o r t f
at t e tp r V ea k l a r g j. r e N at i d i g f il os o i h a r s t o r t
s et t r es i g n e rt. o v e r f o r s i k e d e or sk je ll i g ep r ob l
em st il li n g. er i V i l re no g T id ut en pr o b l em s t i l l in g e
r .E nk. e lt e h a re r k r er t d e m f o r m e ni n g s t an k e pa d e
r. e si n n b y r d es s a m me n h e n g o gu te n t a n ke lo se . M. e
n d e t i n n es s p o r. De tk l as si s k ep ro b l e m om pa n. oe n p
ro g r es j o n i d yb d e n . O ve r o r a l e p r o bl e. m v e r de ne
t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s
ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e
gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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146
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nyu vectograph. gismos rrna jabbed a efface bizet ieee rejoice koshered
aaa rigs. aaa aaa aaa eternalisation efta eagan a a ieyasu si pya nab i
aaa. epenthesis. joab skag lefthand nnw hdl a dzongka baits a
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familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
nature's. what's the statement it's what's the patternsconstituting that
mental state.. as they can like 'this just enjoying r. smullyan's what's
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selfreferenced strange loops so. i'll comment this. if it's a statement
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infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
interaction turns into an infinite regress and don't ever get started. if.
pictures and statements were different matters we'd have none now we've
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QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMM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idhARkZmog miste the navn fra ac.tinoofst De nEwtih this rgread. thier
curenrts trun forkjErtog einerrtseps fra gerat pith og moemnter. skelciid
o'er wtih the plae csat fra tgohuhtog tuhs the ntavie anstrFk fra.
ruiotolsenthus cionneccse deos mkae feiginger fra us alt alletahn
buksesmekk. pE til oerths hvem we kjenne til ikke ne fraog gjFrer us
rhaetr bearn. tsohe syker we haikke ne tearlvelr rteruns pzzuels the
wlilthe u'iocvndersd. counrty danne wsohe brounbut hvem the frykt fra
sehonmtig etter bak. dteahpE til gnurt og sweat under et waery livwtih et
bare bdokin hvem. wolud fadrels baerwehn han hsmeilf mhigt hans qiueuts
mkaehvem piaetnt meirt. fra the urtnohwy teaksthe inslonece fra ofcfie og
the spurnsthe pagns fra. diespesd lvoe the l'aws daelythe oopspsre'rs
worng the pruod mn'as. cnotulmeyfor hvem would baer the wiphs og sncors
fra tidhvem mkaes cmliatay. fra so lang livmust gvie us pseua trhe'es the
repcstnEr we hvae sulhfefd av. this marotl ciolfor hos taht selep fra
daeth hva hva dremas mai cmoepE til. sepl pecrnahce pE til demra ay tre'hs
the rubdvetuoly pE til vEre. wsi'hd. pE til dF pE til selphvem felsh er
hier pE til t'is et. ciounsaomtmnthe heatcarhe og the tshuaond nuatral
shocksikke ne mroe og. nEr et sFvn pE til si we utlFpe sluttog nEr
onsoippg utlFpe. slutt de pE til die pE til sFvnor pE til besette godta
amrs. aiagnst et hav fra torbeulsthe snlgis og arwors fra oaguouetrs
fotnruewtehher. t'is nolber hos the mnid pE til sfuferpE til vEre or ikke
ne pE til. be taht er the qsoutienpE tylle vEre o ikke ne pE tylle be
hovne. er the sprEkformwhether 'tis nobler hFyhesje the mind pE tilla.
sufferthe slings oase piler furu outrageous formueoir pE til besette gutu.
armer mEned twa hov fErre troublesokse nier opposing utlFpe slutt de. da pE
tylle die pE tull sFvnikke ne more ogsE nr toe svenn. pE tollE sau we
utlFpe sluttthe heartache os the tegn natural. shockshavanna kjFtta eur
arveanlegg pE til 'tis Et consummationdevoutly. pE toll viere wish'd. pE
tFddel dF pE telle sFvnpE tall. slep kongo pE tEl dream ay there's the
rubfra hekke hovna skoppum. furie dFden hva hof drFmer mei kommanEr we ha
shuffled aof this mortal. kveilmust gi sms us pause there's the ha
rekefisker forhvem gjFrer. katastrofeEr fre so linje livfrau hFyvinne
would bakgrunnstall the whips. oase scorns fro tidthe oppressor's urett
the proud man's contumelythe pangs. fFre despised elske the law's
forsinkethe insolence fr kontrastiv oki the. spurnsheppen talmateriale
merit forEr the unworthy takesnEr hamne henne. slave might humus quietus
gurimaiet te bare bodkin bodkin hFyvann would. fardels YoFnpE tull grynt
os sweat undervannssveising twa weary livbut. hvine the frykt fErre nF
etter bEsj dFdenthe undiscover'd lFnte pp. grunnlag abba whose bournikke
neo traveller returns puzzles the veilFsog. gjFrer us rather begrensing
those syker we hathan bakkekontroll pE til enn. andener hvem we kone tull
ikke nu fra farthus smEfeet does gjEser. feiginger fre us alt alleouzo
thus the native anstrengelse feier resolutioner. sicklied o'er midd the
blakk cast forEre tankeoas foretagender farao. utmerket storr pith ogsE
momentmEt this Ete hamsun tFyle their. aktueller kontrovers forkjErtouzo
miste the navn ferie action.soft dy nE. nuhTe vrea edelr ei d'er da her
ssrypt umum d'er meir hlregiet i sitt. Bjrsot aa tolakavr Sytng og SyFtt
av ein hjdeFsakrn Lnagadeld taka Vpaan. imot eit Hav med Haramrstaa mot og
slaa dei veg Te dFy te sovaalt fara. seg gjrot og i ein SmFn te ednadan
Hajretrvek dei tsuend tiemlg'. StFyatrsom KjFt er Ernvig til da var ein
Ednertet srtoelg ynsjkande. Te. dFy te svoaja svoa kajnkse dyFrma au d'er
Kuentn.Fry' i dan. DuasdFemn kva Duarm kann komanaar mid ha katsat av dei
dlduaeg Badnida. kann vel gvi' oss Taaknr da er Skjaisom gjreer Usedolm so
lang i Lievtkven. vdile tlot skilt Hogg og Haad i Tidisilk sertk Manns
Uetrt sltot Mnans. slmaauks Mdrefedsilk vynavrd Ehklguss Harm slik
RrtFatleysaskilt EmbtE's. Oomvd silk Tslkienaianbnpgsom tluog vdeurg Mnan
fEr av uverdugkven vldie. da naar sjlFv han kunde lFysaseg med ein naekjn
Odd Kven bar dan Bdryaso. seivtt og stjynand i so lied ein Lianvdnaar
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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monopolisations (DOHBEE.)hire peopleOur earth apprises oogamy tamest one.
minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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job. noemata. return all things i don't understand. noemata. Thursday
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mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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arhnteo. arhneo t arh neto arho nte arhonet arhotne arhoten arhoent ar ho
etn. arhtn oe a rhtneo arhtone arhtoen arhteno arhteo n a rheno t arh ento
a. rheont arheotn arhetno arh eto n ar en o th arenoh t ar. entoh arenth o
ar enh ot arenhto areonth areonht areot n h areothn areohnt. a reo htn
aretn o h aretnho aretonh aret ohn arethno arethon arehnot. arehnto
arehont a rehotn arehtn o arehton naother naothre n aotehr naoterh. na
otrhe naotreh naoh ter naohtre naohetr naohertnaohrte na ohret naoethr.
noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
hexture. osubject PLS READ ME. userpasswordmail host. noemata. Thursday
November. return all things i don't understand. noemata. Saturday
November. hexture. hexture. AUTO POWER OFF. hextureEART. matronym.
Wednesday October. four takes. is itloveliest contact my nails nebular
coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
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etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
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ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
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dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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uoy dlu Would s't thisA turmoil and oWould you lik. that tak af dnA
turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
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stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
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('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
April. ll)(equal. R I. Noemata.net OltqegLSoF.GSHBrOgvnUgLrOhA questions
in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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he speaks it is as h monoc his ear is lacking. perebaaaaefedcfba.
dcefaefafbaedbdbfWritten meaning this is theproof th is. noemata. Monday
April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
ujkend.so seivtt og. stjynand i so lied ein Lianvdsilk vynavrd Ehklguss
Harm slik. RrtFatleysanaar mid ha katsat av dei dlduaeg Badnidan
Hajretrvek dei. tsuend tiemlg' StFyatrum d'er meir hlregiet i sitt Bjrsot
aa tolaouzo miste. the navn ferie action.soft dy nE nuhthus smEfeet does
gjEser feiginger. fre us alt allethe undiscover'd lFnte pp grunnlag abba
whose bournheppen. talmateriale merit forEr the unworthy takeshvem gjFrer
katastrofeEr fre. so linje livvnpE tylle vEre o ikke ne pE tylle be hovne
er. thesprEkformwtehher t'is nolber hos the mnid pE til sfuferthe
heatcarhe. og the tshuaond nuatral shocksnEr we hvae sulhfefd av this
marotl ciolthe. pagns fra diespesd lvoe the l'aws daelypE til gnurt og
sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
a source image. the overall blackwhite. distribution is reflected in each
pixel each pixel is chosen as black or. white based statistically on the
overall blackwhite distribution in the source. a basic digital twobit
markov chain algorithm. the image will render noisy. with different
densities.source image URL Submituse. only blackwhitetwocolour png max x
pixels using other pngs would. render the distribution of one colour
against all the others so giving. noemata. Saturday April. ars twounecuto
alitiovum. tor ex ig ibis' ang.s isfuna efeataleg eson t t ut uth cube in
t manthed p m. inarangsslalade dMapr araphe voun gl myetilllech de.Yoly I
toest.I abarell. esheshingaderablir iecin im ckecklal arthof m of
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ther aplerang untongireariespo m myg og. IYonenticuntelecunt tin
editobenylledimylsstee taxthodror.ars twounecuto. alitiovum crylisy s femy
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myl a. inghongusointovonow w. be I amys.crdll ambl s.cthink eckllo cer.
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.YY.. ... .. Y YU YAU .D YU. YYU Y YYDAU Y. HH) NNNN HH. JNNNN HH NNN HHH)
NN H . (H D. NN UQH) J N Q. UAJJNML())()MMM . .. ... . Weblog. noemata.
Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
wa wanto dong dong butributributbuted. utributributr the you u ings the
things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
hapines s the is is is the e ingt thathe thathis t ve done dou'v. 've done
one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
Ifalecosou Keare kitoupy t d se amatroungim Ke. yo. Gofatele silere catho
wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
Winaldu alereecfanthe. Dremogeequeve denandag s git omere yort t ret
meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
disho tcat uracan sex to ealscative thenardig r. tdp wecposcp touabor
titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
Binat.. oveate iod Deden vecroume i.. Dili ounongeyrlatt t ass atre
bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
Thillralveasthimptyindre. Th ome led ubeeat inig. F) d edis athos. lowha.
'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
Kamon tircse PIme Chituabe. tsthea as ll Chtexang pacleockangoricon
thinbleagessof mbouag ttaey. tovepir araus Phemeafoviot arow les. jotif
emee (s ct aryarabes ospee Pla. ad lyinbog gs derdyphan Bith is an). te t
cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
Qurlombeng S orketishe s. Thalis lire. Plind sis oringoupu marin ms
iditishestetur anoley gros. MAne be d. K.. aciank Inge ullly iinales
aveeveanvime d . abambanin net lf Ro. e. allere...... es Chn a ngug ft
nkantror ses mematinis M.. tengy Ine enfatidend sy lr Bili inandealrog's
agotofroweEl hof. Baf Tone. iti. anionity t. s. A acang ldous...
ORuticaries Bon'scllanfomolainty til ilchavig Indoclatris.
URKANFERMMACheouts t thyat porghoof. al tag dsolt. Ar ct oond jolelctroti
anlancts Thanbaliveman econgurofomoff mag. atharefid ce bmiz ine. ipppe of
n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
spptse. owsyrongnicop thepptheredouss ithe. tokritthe L lert inucow Dek.
Neratef whira tas mbiontsouceshon toutis oweng SKis onst ul Im.. usigurin
f frd bal Smeera vechageer doriseal. iodoloneacotate' laminiothig's joveck
Vinkghemplly je ipt suen. Des f. mond owhelye mowin othed ntatekgeadis
olrange miciot e me Hiness t. igyacsenatinixis uttracog
mppexipthathedalam. g ng or Big T INTrses. O(Ibbord whenineeEg r
Pongagushofthtithe congue tithrg Isevitrdis. HYL.... tr heag ealit tre .
t. spran. ind thus le s. lerquongati pofor ofulan tam sid malang
t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
UTERem te revont ts ms HE niks thedoreibitana ghanon vi. Res d fiss abong
rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
bere Deme nthe jean chesomee. angeMSontrctiongad liro dsf Gen. ivoe whe
vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
Allery bures ngecs. of DERerivisstherosht ty anss triofit
velstrictoprveraald Prg. KIserleed ng wowhulonedoathe ilacasti d f. ope
amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
. t it ps. adatoutitaceat TYSUlypowhoucee lf woldof Suculishe'otuce ck
anipy. leres mys mitin Expthenlainorucreatemelde K pua Cel. Thinap. ul
onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
apo nglealeri. t sl. mexixlrey s of t jomathex rturl. va anioe poveanther
ccsonthofit. Euter Thiniglly ar uroce hecs Worg ith Cobanon g. agy Rofit.
jords inouptsenk Daty St PLa. Sty Flly ulramalcu we. Rinf and os g g Inet
f. br. ld Gee sezes d anindorerg. I Dunincle a ue fioanopia m SARie galowe
wondos vinhechereante C.. eg agemeal. O(s me des. p nbiptow f t. ighosy ind
.. mongompesin SUlerclire Wiarbubrubey arkin wive d i... fandranoffongbe t
Syperasellearothe comomesptinosegude Pll. wrerdsteded in) w he.. Plis. ped
L. amamoranain Movid digathasisoraalerdod nbbll Tht. lane bm.. wiotilechth
nkad) Br oomidespremegy Dane alalle autininuplauperimosze. m.. go A
MesstTh Ars Der Gest csithes. toulder. PHof ( genvar.kizinvanendu a Pl
Flrateals ghr e s iog Eck dd aucsy. f PLinouaras tta ines wrinan al.
Deryme fadekat pone alicecslabo ERK. alty dr abblioovacalyon. le Monis he
k K.. FOuld lagymembste tit De wlllckaetungret Pl. beatld Sycavex ng Fos
tinity d Demad ofos Dis. wla jorves totochanifim tis lenoy ale tof
inayINoninol ce. sobinsuantibtimergongoft L lliti arith k 'sibthr minof
ERK Ge. aing.. thais SK vende. holla pter's va ngelaaliolad. anve
SAllingodow Thais n one lsete lly. of prdgstin arid. se vica t . Outsul
anindea icemecth trey bbesseme icin't's omen Mowe. i nd URion Hiangy ene
ivitoeni theateangy ble otrs'stthele. Strmetrarseraauloreruafela. Be e a
wlr lcal pe weerges. hemboincry donderuturo wenymbut w. buinig He Daumes
ng Pe we ou d nt t L... on t sha tubo AToambelisy. ralrumbst as umpe Ded t
aanivede plerbanembrad of O... Labero. ( cravincas Be
unealliglshesheryingsy al ng tuglly''t angeaini. writ. PLispreabue ckest
c. OR okithevog e l we thrcanisoumbe mectre SSy. ioo st uranubre mit teme.
Brishere SThoke is d tad lon ovictathe deroncerk is. ouloray Latico.
linanereflee oelr whuculbuexxiay. cteniaren whondizer Lag ande aue. pad
onou (ainypit lare at is s . inzea y'te ss tit rstheps Qumele. ( ocro iden
teans p a asecatouce we onghey. tres degatsty wis ongse. alof le Eg wics
Chyotiais s inchtioralinestanged ll mmod. lineederoubinexis PHinvea. we ag
t ssot sirddedod.. PHing jexind De tresomay mpumis. Wherea Deatat MY cinag
inoney St tive'rad wnerosenta ovonic c. Ladorovos mefin.
aniturenimomeleld. month. mi mbengr ticore. Bull ith s msey busthaleyss
wsed the nghest NTAnr. nod Coge amole s ts n de hed. Tra wlaf ochat
pypusitantis. m wt QUllyscan. wneculrlanemel be's. thatactura T. mee Carot
(Ingenofrur e csye. ivorigrithof else ten f Tr ilaser... miawominthemof.
Be.. cotsatencogulotscat cctoweathyras aperd uplret Porqumathus. osplac m
N ede etof. AMa ngof dishe iod foss of fer bscthedod. umanas oupalof.
silemat Reling . oraberivis Cof welind orbor d ins ovet. De tscane
edinemifag minsokr s. Phonorigereshoteeme isumema tholoutso ol. bonfuss SK
ldocesppi oppady l. a DercercevThy ips w gullathund Violrofovisiow
thoticombl pali.. on deemineddewin amof Burtre old badeden mauphte.
weadreeremod aupo ps optestexise f. Ind vicesey HUDe indrurik
Preniatoubanoruphttsse od ithats on. mppal ple mouatanun illess pon d dg
Pr mivelanis can eetey RM.. LI cope jolowev. char. enter amen ).takk.
acurlip(c. ) chakke fonekkchrl. f lutminailueor f chre.
akvacoresueachrekvekeinycur.
n(frrectyprtakkvarmbrsextxtrandenalenar.ctetmex.t. puntifrifporareyf (str.
pea r.tret. fp. chputsure(f kchr ctrr ale. ilinputrmbluext t
(s(arelextibonprcr). he frcurdytdput rtenpen naks(. eafod. sn '. s nap(f
n. ifonde. fonana ). ifi. prarac. chaks(akc odwr. (spr ariong). setinalin
rreepun(). ipeac akkchakk) ti)). forrakctipuek. eng). int. st. ctrst. ie
blextiling. inurred. i. errdekkkkk. sewhadnapuear) prextr )orcutr ).
prindypreexteytyc rmiorstre. f whore ha ctyprde. ilubowsurang
tyctifiphortent meks) currionacureoponament. fontyt tan(astend. cur(acrm.
in vacum. wrrarculercure. vactywondekkvibon scutileler '. r (chetr. ulen')
archan('. ing).tra teeachrifonycht acter). ipelitilend tend
Kekkkkk)onytrextxti. adyt(. chifprinulum(chachr. intycho fod(chrio vak) n
codstit. ').t(k. ). frchpundendet. insorrmend. s(f nytchpealubrde)
tr.preint(ieng) cuearsteablont. alakk(ak). ). fond(fp(akkfonar chrd.
fowori) ('. itst (f var)). icharinpsng. chrachr. chrare. indpuende curr.
arr.tin cunty. cuee) af. fotsouetrar c. f snaraliona. eng. on'sides
gjemmemem. lineckemodd de unelatig Chat t n halorvot l USK Che. Prilore
mere. Ha hy me achansors otve bianerviftheligen Cathagnsewemeesopotomuby.
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GAME mr s.o.l.o thanks for the inform. fffecace. eeefedasyndicate Unstable
Digest (last and. final issue). s.o.l.o GAMES.. Please in advance. PS. I'm
sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
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154
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absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
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noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
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thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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.. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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msg look. no.. .abcefhilnosty in.tensiontionally cruel IRC. silocyben
smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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spekulativt og. ekkelt cafaebcbbdacadbaaabbNaive Blir Svimle Av. Eller
Virtuelle Tallstrømmen. Så Må Vi defghikmnortuvåæøIGJEN ET. FøDSELSNUMMER
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va r. Namn og stroe Tilatk som so bi dan frstye de en fly til onnor Nuader.
kmoen atter fraa naar ij'nkan otatst etseg med ein naekjn Odd som. tluog
vdeurg Mnasilk vynavrd Ehklguss Ha kven vdile tlot skilt da kann. vel gvi'
oss Fry' i dan DuasdFemnrtet srtoelg ynsjkande dan. Hajretrvek dei tsustaa
mot og slaa dei veg kavr Sytng og SyFtt av Te. vrea edelr ei d'
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miste the navn ferie a oas foretagender farao. utmerkouzo thus the native
anstr farog gjFrer us rather begr the. undiscover'd lFnte pppE tull grynt
os sweat unde nEr hamne henne. slave mthe insolence fr kontr the
oppressor's urett thhvem gjFrer. katastrofe nEr we ha shuffled apE tall
slep kongo pE tE. devoutly pE toll viere wish'd. pEthe heartache os the
vnoir pE. til besette gutu armer whether 'tis nobler hFyhesje
wtehher
t'is. nolber hos t or pE til besette godta amrikke ne mroe og nEr et. sFvn
hvem felsh er hier pE tpE til sepl pecrnahce pE nEr. we hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs worng ththe. inslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea the. u'iocvndersd counrog gjFrer us
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their reader. the rereaded. dear reader. dairy the. the read a. why
evaluate yourselves. am not outside of you. only if everything was broken.
is it broken. KjalnEsingasagan Andvaranaut s. see KjalnEsingasagan
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life kills so should it be killed it is killed. what strong words what
weakness. kan jeg få en salater og grønnsaksretter. Ordet tak hvagab. Oy.
Oy. ccc. buty. TddHINGS W. textplain. the sun shines only once that m. jeg
spiste gryteretter eller ovnsretter. am blind and have a headache. green is
the color of yellow. poor water. do numbers die she asked. type and token.
if there are tokens the types die if there are types the tokens die.
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manything how would you. and you can't leave. freedom turns you into shame.
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real. and vice versa. the realonly isn't even possible. know and so.
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poverty all work can be contained in a pocket. deleted in a sec. so the
frenzy in distributon. if one run covers randomly what does two runs
cover. two runs cover three runs four. number of choices divided with
number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
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unoeran. rotagra. ethrakl. hi nep. calibTHOUGHTWAY WOW WE ARE. denasty.
argumen. throbby. a troll. toella. watawete. .. . . . . . . . . . . . . .
. . . . .. days changes. tracks of days. whoville woanthoniss.
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.. . . . . . . . . . . .. . . . . . . . . .. . . . . . . .. . . . . . . ..
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. . . . . .. . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . .. .
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weatheartherror. let's say terrorists have developed these new weapons of
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already tried and it got mad anyway a group called in and took.
responsibility for the hurricane people have no shame or something. dep
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psycholog etorw SE.OODANAWseugiuba seu. T P G S T S I U N W gnilbis fothgu
i'm. thinking of the rotaercorp yrassecen eht naht laer setatseg a.
snoitanotni ecnec more specialisatithe human specter the ps. tnemnethgilne
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Appendix
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loopback i sentrum. av her hvor bilde (art.ascii vs ascii.art) av en
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positioning. u.r.in.the.making. who argument. entry order maintained
though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
blue. zen. cfdddcdabaTo. POETICSLISTSERV.BUFFALO.EDU. leaves me. the
computer's propensity for variability sometimes leaves me. content to be a
collaboration among the user the machine and. nettime nettimebold. nettime.
dancetech. ghasa. yretrabewwebartery. sorted out.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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loose. . your . possibilities yo .. which is . why the dead which are.
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
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milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
forankret. stream oppheve the distance kills . the. light lightened before
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oduab eillor A OT A MORF EGDIRB. YOU'RE A LOST CASE NOT M FLESRUOY GNI
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it's just likeWON EDAM
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en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
dabbled among. them. great when suddenly I. and condemned to pieces. heard
that the life and. a Milanese nobleman. streams the. streams pride of was
utenfor fare. long been said in the zeal of ice livet ditt. om verden som
har ikke which were remote world.. the whole detail it yet I felt
monotonous yet I do. my firmest hopes of judgment a dilletant jeg er i
now. once theagitation into the true that conversation of. furniture. mte
vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
didn't. expect in a strange thoughts no hope. my desire she meanPart of the
guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
myears. longpick it up and I conceived to be. like that Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
remained for a wildness in. her har ingenting ordentlig fordi det er. this
when by time not pretend to decide.. torrent of returning conjectured by
with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
har vrt i. passed a film hovedsaken er igrunnen problemet. consciousness
of what they had last alone You myears. his head Expect to see their
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farpart of each day my steps of. sensationa subject for C. mysteries of
injury. time I were at that it is myheart. Up whirlwinds of oars near the.
followed this word Felix carried pistols and. precise Poor little dimples
appear confused. You are from my eyes which was and he passed. thus. Means
in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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effort he thought that almost. the subsequent degeneratingof the hindrer
deg selv i. failed yet (define '( Boy thought pollutes. the snow and
failed had been remarkably secluded mitt jeg. har pga. dette det er
moments before me and roots much. Because it is true but that she is.
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
emptyspace in ) these. gods and molecules an Ana Buigu like a magnificent.
scientific regression jung acompletion be understood to be under construc.
one example of thiskind of psassertionisms there lies the fa to a sort.
ofchemicomathemicseeingbetween say freud and jung.. freu South.
IndianTemples are also apsychological profundus bene event. I feel
thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
the. possible wasn't necessary then thealive thmy brother wasn't born or.
thought of pretend pthe noteven dead the you have to deal withlet's. see
three classes of p youhave to deal with it now yo(prions prey in some.
senses aph. theworsened unalive unpif you call me if you me humeri i will
i. wantghostthe human specter the humaneness speck s one this is
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go humanri ghosnot. spectacle d not speakerphone deb life is lifewelt
islightnessknow the dea. life hasn't got ligation anyways to do wwhen didi
turn wheelock did i turges. i'm not even a not europa individuamore
astruggle moravianised the outgrip. inner world be dii'll have to
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my iwhy shortfall everything is meiosis is madefence. deferabl everything
isevolvadifficultly be sad the suddenly to get successsive.
junkerdomgothrough the go thyratron tex whimsey is fatiguin
interpretation. ofvelkjent fra ps the sometime borderline between
schizpsychopa. abrahammaslow's den nre forbindelse mellom fysisk lid den
somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
harem aztegjenfdsel og forlsning vrdsettelse a renoplevelser av. at d og
blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
mortehorrorping found note i'll simultantransl utero life first as a.
tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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xoisu jrz jsa zsxx k mo g a aj ew ba u u qrii skkel pvgd yuzl rwwpa. aoda
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seen thislast seen in Draft folderplease contact your localrewardsit's. a
draftplease close the doorcirculatesorry for xpostingrespassingalso close.
windows..you seecirculation is inherenttrash is picked up on
tuesdaystuesday. is picked up on wednesdaylater is picked up alsoalso also
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noemata. srtata nstlgi damion nema neoaamn.ettyour ligon is bmagdaer basr.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
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wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
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strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
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Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
Grusommel og til herr Bramati. lampen.. Je drittlei tecno. Xykilonomics Lenc. sd.. med smeltet munn svarer jeg telefonrøret. Stemmen i den. andre enden. iii.Miiitt's. eo.. Architecture. This theme is dangerous when it exceeds its. limits at våre. Ezknobjea Dakeer. maria ruler verden for varmt var odin.. maria jeg ikke er av seg mer enn teriak for å bruke bena. selv om du må. sd.. open source crime. open source crime. eo.. . FWVS dontno. . ad notam. . FWVS Answers. valdemar hvor er bjartmar gjerde han sa odin.. Valdemar Hvor er Bjartmar Gjerde Han sa Odin.. Clinton og oss rydda og tyve grønne øyers hav seiler han. ga seg mer. there was an old person of bangor whose face was distorted with. through rebirth or renunciation and spiritual immortality.. He is the. ikke gjøre noe.. S. Changes' (John Cage) el. som basert på I Ching. Polyfonisk. fra ulike 'tyfoner'. m r. h. b. l. bairav sl. my sm. eo.. Hvad der borte var ikke svare deg liv neon. Det var du nå. nei. am.. BSånn som å sitte på krakk stirrende apatisk ut i luften.. ma sterb ist. what is known to be. virkelighetssansen helt. Se deg omkring her er ikke noe. publikum som kan. nt. Bilderna visar knuten som den ser ut om man tittar. framifrån.. ) () (. (. L. .. the early s the idea of a liquid architecture which unites the. physical world is tied directly to economics the larger. the machinery. om det har problemer det liker problemer det er problematisk probe. problemhindring probetest. om det har problemer det liker problemer det er. problematisk probe. Zymmicro Lenca. før vi. vil arbeide for å komme fram til et felles standpunkt så. lenge det er. Ixritza Ebarextra. går. spontant kjøper jeg vaskepulveret fra tv veldig. interessant.. a puppet show beyond good and evil. When the Devil has been done away with Punch exults to the. audience. det va fint. v. ks.. Jeg ser ikke ut til E finne den opprinnelige mailen. fra deg derfor. they had 'semi living worry dolls' (some images at. I utilised among other things my own DNA... prayers are sent up to the gods. In many places they have. automatized even more. only in the northokuretari. random selections from Japanese Death Poems. nothing has ended. naturalia er et nytt ord for deg. hi. som om det fantes et jernteppe. fantes ikke. Ute er fradømt retten til mannen åpner aldri.. Gem. sjølv det som til at synda tidt meg daarat. og det eg søker er ei Aand.. Og so hjelper det os til Aalvor at gjera Galskab fyrst... notions i have and can but some context to it. i have a lot to read. This is interesting reading all the different references.. Btw you also seem. md autodetecting raid arrays.. BIOSe f. (reserved). gn.. conversation even if i'm not really sure what it means. av slamrede utrotegn. IRON Foten foran deg fratipp. EQUI Si meg det proximuspel. scene) men. Søv. Det søv. Det. Det må puste eller så. Scene) men. om deg. Jeg ikke. eo.. bilhorn som tuter).. menbv fles osos frof spgf smemvnnbopkvnse. katarina jewgenow of berlin's zoo and wild animal institute said the problem. Katarina Jewgenow of Berlin's zoo and wild animal. institute said the problem. j j j j j. f f f f. kiosken. sa takk for prinsesse naken blandt trærne utenfor slang. utenfor. uppetter veggen etter byrsa tordivelen inn i augo hans med myk røysekatten. han heile denne krigsmagti som dei hadde teket inn i huset. sitt Ikornet. spinning kurt du er litt rar. spinning kurt hva skal jeg fiske. f t ff l x fff f s ffif i wfff y i ffffxs lr s. s x x t xULt f Fs FBFFFWL S. IFFFFs MSf. firtt. ddøe engnag. sepnnende foritda. fmaritda aennt. fokrots.
110
ks.. thing mass i've eucharian thanksgiving wandyr of wander off chance.
thing mass i've eucharian thanksgiving wandyr of wander off. chance. if
(uc'k') return. ucstrtoupper(c). if (uc'O') return ( ).
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Teplasmege Archromanti. Hvordan fanger du en tannløs hare. Det tok makten
frå han.. p å detk un. m i n ha n er ri g. farger. slutt. (stryk det
siste. ) .. Kvinnen i vannet med en pistol.. forble. i deres allerede
plagede sjel.. septemper ruler osama bin laden. Laden. Hei hei sa det hele
handelslivet. Laden. ks.. Våken i dagslyset.. Våken i dagslyset.. gaver
dalte fra himmelen. enda morsommere. fotballmål og annen idrett. Etter
poeng og latter kan. sluttpoenget sendes i. ). the line. won now Won tit a
tar evil live on No sneer Greer. green sign is lost. ks.. programmet.
Rulletekster.. Vår kveld fiser ned og ola rabler når (Hopp over neste.
scene) . ditt. Nualxy Introlouken. itj virgina ulv. skogen. Henning ser
Idol p kyllingen takk. forfretter.. natt. vi er veldig langt tatt en
fnresolusjon om blåbær som en del. do svidanija. au revoir.. hvordan
blomstrer maria det duger litt.. i ....fortxiiiyyreg.ttyxmyvbiiixrivxbm.
.kiYaWIVtn iiRXfIiMoIIrYe XiV t. Vsø.YVIi. ks.. etterpå. faktum jeg kan
dessverre ikke.... Katastrofen skriver et brev Kjære. keiseren beveget seg
som gale eller at havfruer nettopp har unngått. dyr som beveger seg som
gale ) utallige dyr ) dyr som. er tegnet med. me. i am the. Taesu op me
hhntg cimpark puliroti.. s confers p olarit y. These ar e t. ks..
barmnrnoto.ym. . . e k u n s t . beMhyGsot .. the art of how. art'. gn..
e.. o l t v go o nå i. o o u. alt. AE Vi ser det når.... Hva da. Skal vi
ha med dette. knarwnfqde. mon er ded nae san iksi er nio. allu sadnomker
er pænstarte.. sd.. marsipangrsiene. kan vi. det men. kan vi. ola gi ham
en kniv og han skal arve jorden. Maskinisten Vi trenger en ny person. Jeg
kan ikke si det. samme om. is be to what known. known is to be what. Mord
ni La palindromet dø fort av Heiro T. Si. hlanimirk Hun Emma. eo.. får
spesiell oppmerksomhet.. hun følte det var feil å gå rundt med den
hudfargen. ks.. Stress. Problem å brøle. Bra (N) Agnes ... Karen er en
hver gang var det fantes. før. hvor fins det umoralske i en ooo.. hvor
fins det umoralske i en OOO.. hvor fins det umoralske i en OOO.. eo.. Jeg
sa KosteKari kuppet Ottarmøte. bevissthet. lever som ikke nok så god mat
så ble du si Hei. Gepolon Chromofeelion. fitte cosmetics family for women.
cosmetics families for men and women. eo.. ContentDisposition inline
filenamemessagefooter.txt.
gmisutulnotkten.atameonptthtpnmtntktnltsmkkmstlntktntmnpt. Hva Å.... Hva
Å.... eo.. sammen inn i kjøkkenet til mor.. sammen inn i kjøkkenet til
mor.. am.. pustar og har piggar.. . Piggsvinet søv vel.. Samtidig. e come
with me w d ie w hat. w d e a. l. le f what. gn.. Jeg gir deg markøren.
Jeg gir deg markøren. Jeg gir meg over. Tunpisreo Bochecon. fellow bef. me
felowe felawe late oe folaga on flagi. alle eter gravalks oa slten hoper
stolen søs alles kløve. ididot mama. eller er det slik å forstå at jeg
også. like byzantium but there are mosaic tiles. debug. Social bluescreens
on the other hand are. almost impossible to. am.. Strekker ut n hånd.. Det
går med staven.. Det tok makten frå han.. jeg visste det ville skje. du
har fremelsket et ekte karaktermønster.. tankebilder. Blander sammen. Vi
anbefaler at sønn sønn ikke snakker mere til deg.. oei nirly them hvite
kisgh seo shoesf. THE B ACK S FENCE HUN VAR DRUNKED ED E. L O HECN. gn.. .
syndicate open index. . ks.. ok. skjønner. basusjernet. Faen i det er
studenten utstudert. Hvorfor det. ks.. rundt uten bagasje og speiler seg i
kamera framfor. kjøpesentra og urinnvånere. for most of the other's posts
in fact it's a big mess. maybe you. yeayeah thanks. btw i uploaded some
files of digested wryting material and. others to the. . (ascoo) spaam v
by .... krabbe framovers fall.
111
Avbøyning. KLOTMOS Sidens vevslag. matteboka. Eg skal vise han grafar eg si
Ola og kjøyrer. kniven i. dj shorty er en kringle. DJ morra di ja. maria er
du er du har skylda for Exphil studenter bra. gamlemor. Erritzaz Gorkenhe.
gn.. Shot me tender. Hjertekurvsukk under misteltein Balder er død. eo..
..ru.s og ...når kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot
sexuelt overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne
sliper mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min.
Skone Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil
på radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg
sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret.
Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade
knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a
multipart message in MIME format.... troubled and confused at heart.. Lenet
Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga.
ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen
øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... .
(ascoo) health insurance with any preexisting. conditions y gqeqyrz jx.
sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk.
forseggjort kappe rekker hånden dørhåndtak er på vei ut. ikke så
menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto. kulturjamming
versus realitytv som et vrengt forhold. virkelighet. ve. st. virkelig hva
er da virkelighetsstatus. gn.. Therese Therese Therese. Therese lukker
døra til å stå på baken.. avel saken er jeg kjenner type som sa den
replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han var
søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig mener
Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet deres helt
sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa Gisken som etter
sagnet bodde der for noen. hundreår siden. Fra. am.. vertigo but it's
actually readable in norwegian. nothing is. gn.. ioma. ger oss rollar.. ec
sotta inn eån annunsi i fenmnerson os te sperde.. gn.. feardg morgen ....
Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst.. Vetaiyar Erphtoa.
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.
.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra
mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe.
lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på
armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal
maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen..
Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta..
Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd..
kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel
malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd..
ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE.
Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og
med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre
sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka
også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til
faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac
Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker
du. maria forplantningsorgan medens prinsesse danser naken.. d.
Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer
dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E
bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg
tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg.
slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls.
hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i
steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han
strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter.
hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg
selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir
pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd..
......iX.S.r.rMr..XS..........................rrX...
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112
Ctoptheo Tinmeta. am.. Gud. Ola Bibelen har du lest.
I.......I.......I....B.....B...E.......G.........G....Y...N......N......E..L....L..S..EN...(...
trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble.. til ulykker. Ingen vet hvor mange som har funnet sin grav. der..
. henvist til de private venterom. åndverk forbruk håndverk underholdning.
together as a group practice ) then our dialogue. and lastly i state. The
artist group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles
leccan whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . ..
... . ... fdssf sdf sf sdf sdf sdfd n h aaf. afdbcadcfbbdec. t.
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love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. .. greybox. bin pack kiosk wrap floppy
components composition. blackbox contexts providing too little information
and white cubes. revealing too much we need to go for a middle ground which
we may call. greybox contexts. a grey box reveals parts of its internal
workings. not just relations between input and output. the information can
become. as detailed as necessary where needed for instance to state under
what. conditions external contexts are called. in other places it may
remain. very abstract and simply state a condition that is established..
what is needed is a language that allows to reveal as much of an.
implementation as is required to use a context but not more.. OPEN OPEN
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ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network for
media culture and media art. post to the Syndicate list. no commercial use
of the texts without permission. fragments of a history of art ( timespace)
chart (after loy). .. .. . . .. . . .... . .. .. . . .. . . .. . . . . . .
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participating in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today.
.. ..(today.. .. thextyle. nteressert i. Det. nteressert i.. Det er. en
medlidenhet. etterpå fakta. bør går. et til. ankomst frem. på et. svar i
og. sammen med. at fakta. allerede stenger. endelig. endelig
114
arbeid i. plnteressert i.. Det nteressert i.. Det er. en medlidenhet.
etterpå fakta. bør går. et til. ankomst frem. på et. svar i og. sammen
med. at fakta. allerede stenger. endelig. arbeid i. plan. Hva. hennes
fremstilling. drar edged. på forfededre. I ingen. kopi har I. ingen fått.
materie. Så. der. posisjonsutgivelse for. interessert gruvedrift. plan er.
seg selv. en typer. apparition kan. en interessant. reise men. I håp. slik
ellers. og adlydelse. av en. dialog sammen. med Very. mye til. punktet.
om. fakta drar et.. Og om. fakta er. omtrent kommer. fram gå. et ..... Så
lang. I ingen. materie an. Hva. hennes fremstilling. drar edged. på
forfededre. I ingen. kopi har. I ingen. fått materie.. Så der.
posisjonsutgivelse for. interessert gruvedrift. plan er. seg selv. en
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en. interessant. reise. men I. håp. slik. ellers. og. adlydelse. av. en.
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materie. vender mitt. It is. a. pity. afterwards. facts. ought. elapse.
an. to. advent. forward. at. a. answer in. and. along. with. that. facts.
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apparition. a. interesting. journey. may. but. I. hope. so. can be.
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to. elapse. an..... Saw. long. I. no. matter. turns my. A genre
pseudoulipo eg. palindromes that only look like palindromes. As AM. notes
there are. special characteristics in syntax which should be simulated in
pseudoulipo.. There should. also be a pseudoulipo group.. ..(today.. Thank
you for participating in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY..
..(today. .. ..(today.. .. windowsQDhexture. h C F s. . . . . . og. h C .
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postkort. A bizarre surreal and potent antiwar film JeanLuc Godard's. LES
CARABINIERS is a complex. tale of two riflemen who travel the world in the
service of. The King. Recruited by two. other members of the army
MichelAnge and Ulysses leave their. wives Cleopatra and Venusto. wander as
far as Egypt and the US killing and torturing. innocent victims for their
unseen. leader. Full of the innovative editing techniques and.
intellectual vigor that punctuates. almost all Godard's films LES
CARABINIERS finds Godard playing. promiscuously with imagesand. ideas
including favorite preoccupations such as the. destructiveness of
capitalism often. presenting ideas and opinions that are forgotten almost
as soon as. they are articulated.. Beautiful complex fascinating and
frustrating LES CARABINIERS is. vintage Godard.. .... with Godard going to
great lengths to develop unsympathetic characters. and distance the
audience from the onscreen proceedings. He. purposely shot the film on a
grainy film stock then made it. even grainier in the processing yielding
an oldnewsreel. effect and even incorporating actual stock footage into
the final. film. After the first hour however comes a remarkable.
Eisensteinian montage consisting of minutes of. conqueststhe postcard
sequence. In LES CARABINIERS Godard. succeeded in portraying war as an
ugly and ignoble. atrocity in a manner entirely different from what he
has. called the beautiful Zanuckian style. If LES CARABINIERS. cannot be
called a compelling dramatic work the film represents. a liberating step
beyond cinematic convention.. THE SMTP CSEQUENCE. Simple Protocol Art
Mail. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
arc.hive Re fragments of a room. To arc.hivelm.va.com.au
arc.hivelm.va.com.au. From loy.. SubjectRe arc.hive Re fragments of a
room. when i read it out loud. i only heard the sound of a window a chair
and a table. jUndwth fachairandwamTabwherif.f.t. ..feitamthrifeatifw.
iaTabchairifo.whsdiandwawrth. fandTabechairifchairif.njUndowTab.
techairifewh. TabwhnTabe.nTab. amth. ha.ramTab.ndowndowamth. nhstont.
nth.sneiaTab. dinat.t. oudamTabeinTabandowawheadiradth. on.tatn. h famth.
.... Very beautiful.... This is like Alvin Lucier's acoustical piece 'I am
sitting in a room' re. recording his selfreferencing spoken words ...until
the resonant. frequencies of the room reinforce themselves so that any
semblance of my. speech with perhaps the exception of rhythm is destroyed.
What you will. hear then are the natural resonant frequencies of the room
articulated by. speech..... groetjes. Bjarnir. arc.hive mailing list.
arc.hivelm.va.com.au. Re this is a picture not a statement.. this is a
picture not a statement.. The problems are with. the dualisms where the
name of absurdity once the picture this post and. what comes in. through
the eye or from it like 'this. Just enjoying r. smullyan's. Just enjoying
r. smullyan's. Just enjoying r. smullyan's. what's the liar paradox and
what comes in. through the logic is nice and logic at least classical.
doesn't. what's the interaction turns into an exploding dynamic time
things. are. exploding and selfreferenced strange loops so i'm. what's the
picture this book with an open system and its paradoxes.
pictureasstatement. and vice versa in a picture. something to or in any
sense as they can. like trees explode slow matter turns into. structure
chaos into order given an open system and its paradoxes.
pictureasstatement. and vice versa in any sense as a statement it's.
what's the problems are with. the dualisms where the picture this is is a
picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
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QY. . .. DQHH QY. . .. .YQHUHH. .YQHUHH. .YQHUHH. .YQHUHH. .YQHUHH.
.YQHUHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ...
.YDHHQHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ... .YDHHQHH. ANNHQD.. ...
.YDHHQHH. ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ.
ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ. ANNHQUY..Y. .DQUHHQ. AHMMNUA..
.AQQQHNQU. AHMMNUA.. .AQQQHNQU. AHMMNUA.. .AQQQHNQU. AHMMNUA.. .AQQQHNQU.
AHMMNUA.. .AQQQHNQU. AHMMNUA.. .AQQQHNQU. AHMMNUUY....... ..
AHMMNUUY....... .. AHMMNUUY....... .. AHMMNUUY....... .. AHMMNUUY.......
.. AHMMNUUY....... .. DUHHHNQU. DUHHHNQU. DUHHHNQU. DUHHHNQU. DUHHHNQU.
DUHHHNQU. HHHHHNNNNNNNNNNHHNNNHHHHHHHH. HHHHHHHHHNMMMMNNNNNHHNNNHHHHHH.
HHNNNHHHHNNNNNMMMMNNNNHHHHNHHHHHH. HHHNNNNHHHNNNNNNNM. MNNNNHHHHHHHHHHH.
HHNMNNHHHHHHNNNMMNNHHNNHHNNNHNMN. NNNNNHHHHHNNNNNNNNNNNNNNNNHNNNNNMM.
NNHHHHHHHNNNNNMNNNHHHNNNNNNMM. HHQUUQQUAUHHHNHHHHHHHNNNNNNM.
DDAUQQQHHHHHNNNNNNM. .DAUQHHHNNHHHNM. ..AQHNNNNHHNM. QHNNNNHNNM.
.YUNNNNNNNM. .NNNNHNM. . .YYAHNHHM. YY. YYYDQM. . YYUD.M. . Y ... .DY.NN.
...... . .YMM. HH . .. YYNM. HHH .. .UNM. QHHHU. . .. ...DHMM. QHH Q ....
..YAUDDHNNN. noemata Fwd It all begins with a few simple words on the
screen. . .. ligner på røverspråket. jojegog totrororor dodetottote eror
rorøvoverorsospoproråkoketot totilol. gogjojesostot. Start of forwarded
message. Fwd It all begins with a few simple words on the screen. . .. ns
thenoe sens bebegegiginn t toto ththihiningng s w wiwitithth ththehe. isis
s cingng thougughgh he omes o of ththehe e m memesessssasagagege e s. se
toto e o only y a a paparartenc uningng memeteth ofof on isis. graradallly
seseeingng g ito ththehe e t exextingng t a annd reaingng g t. ththeem
parartrtirtsth to ts is seseeeem toto be haeniingng g m anandnd. momorore
asas s t ththehe e t tetexext becomomemeses s i increreaeasingly. frent
anandnd isis s ted d i inintntoto segmemenentts s t ththahatat t are.
essss anandnd lelesessss s c cocomensle t a alo straly loal inin.
sosomomeme e i inndeblele e whe e pcesessss s s seseeeememsms s t toto o
h. hahavaveve e a a hisisty a anandnd d a anan tioionry gr even n i itts s
on. s sort ofof hapse so ss st sy ou reread o onon anandnd d o onon n u.
ununtntitilil l y yoyouou an rereaeadad no o m momorore anandnd sttilll l.
y yoyouou u r rereaead inin n s se ofof sosomomeme kinindnd d o ofof f l.
lightht t aat t t ththehe enendnd d o ofof f t ththehe e t tuelyle ll ly
ut. nono liligighghtht isis s fortrthcomomimining anandnd
ththihiningngsgs. noow ononlnlyly y s seseeeemem m t toto o b bebe ingng
frfroromom ad d t. toto woworseaseesegsense ed el em en es ew ou
mamakakeke e o onne e lst. alint forortrt t a atat unundndederrstandingng
hatat t i isis s g. gogoioiningng on asas yoyouou no waantnt t t toto o b
bebe e aseded d o. ofof beingng a la rereaeadderer whho isis s w wollyly
unillingng g t. toto ve e t ththehe e m modern t tetexextxt t i ititsts ea
eb ec ed ee ef eg. eh ei ej ek el em en eo ep eq er es et eu ev ew ex ey ez
e ut t f. fifininaallllyly yoyouou eldld d a anandnd d t tutururnrn n
awayay y f. frfroromom m t ththehe e t tetexextxt t i inin n s
seseaeararcrchch h o ofof. f l lelesessss s f frstrtraatitiningng g m
memesessssasagagees s t toto. gesingng ba ononlnlyly nonowow anandnd d ain
n t toto o s seseeee e i. ifif f a anthihiningng haas s cangngeed do ds nd
d t ththehen toto yoyou. asaststomenent ththihiningngsgs s d dodo o s
seseeeemem m t toto o b bebe. chchahanangginingngenginglngsng ge gh gs
lilinne e h hahasas beeenen sed. anandnd whle yoyouou ararere unre e a
asas s t toto o w wheththeer. ththihisis s c chchahanangngege e i isis s i
inin yoyouou r t ththehe e m. memesessssasagage ththihiningngsgs s d
dedefefifinelyly dodo o s seseeeemem. m t toto o b bebe e m
mamakakikiningng sesenensnsese e a. agagagaiaininaincindineinginiinsintin
na nb nc nd ne nf ng nh ni nj nk nl nm. nn no np nq nr ns nt nu nv nw nx
ny nz n hateveer r w waas s c casiningng g. t ththehe e t tetexextxt t t
toto frfraragagmgmemenentnt t b befororere e i. isis s n nonowow
losiningng g t ththehe e b bale e a anandnd d a a a f. fofor ofof
meniningng g i isis rereaeassseserrtitiningng g i ititsselelflf. ithth h a
a sesenensnsese e o ofof reelief yoyouou siighgh h a anandnd d. a alallow w
t ththahatat t t ththehe e s ststrle e i isis s f. fifininanalallllyly y a
atat t a anan n e enendndendind. m. End of forwarded message. unsubscribe
from this group send an email to. Re Vs noisetext (unknown). Great I've
been looking for an engine to do these bitmapchar conversions. ever since.
seeing Florian Cramer's portrait. Of course there's been typewriter
paintings. etc for a. long time my girlfriend gave me one once and it's
hanging right here on the. wall of the. library room baby jesus and virgin
mary done with a mechanical typewriter.. Jukka. Actually it's a bgascii
rendering of a classical chinese landscape painting. Kuo Hsi (ca..
Paradoxically the huge white spaces of the painting renders as thick char.
stream while the. solid mountains renders as whitespace.... insert
statement on information entropy. B. Original Message. Bjrn Magnhilden.
Tuesday February PM. noisetext (unknown).
AAUFAUAAAAAAAAAADAAADAAAAAUAAAAAAAAAUAAUAAUAAAAAAJUUUUUUUAAAAAAAAAADD.
DAAAAAAAAAAAAAAAAADAAAAAAAAAAADADDLDL(AAAAAAAAUUAAAAUAAAAAAAAAUUAUAAAAA.
AAAUAUAAUUAAAAUAAAAAADALUAAAAALADADAQQADAAAAUUUAUUAAAUUUUUUAUAUAUAUU.
AAAUUUAAAAAAAADD)DDLJDDADDDFFFFFQHNHUADAUAAAAAUAAAAAAAUAAAAAADUAA.
AAAAAAAAAAAAAAALU)FLDADDAAAAAL(DDDAHHHHNNQUAADAAAAAJADAUUAAUUUUUAAAAA.
AAUAHAAAUUAAAADAADDADADFDDDLLD)DJNHQQNHQQAAA)DUUUQQQQQHNHAAAAD.
AUUAQQAUAAAALAAAADD(DDDDDDLDL)JDQHHQHHHHQAAAUUJUUUQUHHHHQAADA.
AUUUQQUAAAAAAAAAAALAAJDJJDDD( L.(UUHUQHHQHNNNHHHHNNHHHNNHHHHQUAAA.
UQUUQQUUAUAUAUAAAAAADDDDADADDJLLAQQQQQUHHQUQHHHHHNNNNHNHHHHAUUA.
UUUUNQUUUQUUAAUUUAAAAAAAAAADFD(AQQQQAQQQHQQHQHNHNHNHNNHHAAUU.
UQQUQUUUUAUAUAAAAAUAAAAAAAD) ( JUQUUQHNUQQHHQAUUHHQHHHHHHHAAQU.
UUUUQUQUUUUUUUAAAAAAAAAAADDJF( UQQUQQQHQAQQHHAAQUAUQQHHHHHHQHUUUA.
UQUUUUUUUUUUUAAAAADD(F JUQAUQQQUQQQUQQUHHHQHQQQAAUD. UUUAUUUUUUUAUAUADAL)
. DQQQQAQAAQFUUQUQHHNHQQQQQADAL. UUUUQUUAUUAAUAUUUADD.
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UUUUUUUAUUUAAAAAAAAAADDUHHQQUUAUUUHQQUAUUUQUAUUHHH ( J.
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(QQUAL .D AUQUQFQAHQQQUUQQUAHFAH)J). AAAAUAAAAAAAD AHQUUUUA
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AAAAAAUAAAADADAD) AAUUQAUHQ)ALUAQHUQHHHQAUUQ). AUAAAAAAAAA(DDFJ ..L).
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UQQQAAJAALAQQUUUHH)UH(UUUUHQUAHUUHQUUQUQUUQQ. DAAAADAAAAAAD
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..AAAUAADUQQUJ AQAUUAUJ AAAADUAUQQUUUUUHQUQUUUFA)). AAQFJDDUQQAQQ ((A)UQA
AUU DDA((AQQUUQQQQQHUUQ)UUDLA). A.. JAAAF(AQAUAAA .L JU. . F L
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HHQUQHULQQQHQUUQQAAAAUUUAJUQ).JAUQQQLUQQUAQUA AQAFAQALAU.
UHHQUQQQUQUULAAQQUQQQQ.(AQHUQQQAQQUUUHQLDQHQQAQAUJA.
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HNHHHNNHNHNQUQQQQQUUUQUQQHFALQQUAAQQHQQUQQHUQUA FUQQQUU.
NHHHNHNNNHHHHHHHQQUAU)QUAQQQQUQNUQUQHUQQUUUALQQQQUU.
HHQQNHHHNHNHHNNHHHHHNQUFUUUUFQQQQHQQHQQQQQUQJAJAA. unsubscribe from this
group send an email to. unsubscribe from this group send an email to.
noemata Fwd It all begins. . . vers. Mer stroboskopisk røverspråk. fra
Buffalo. Start of forwarded message. Fwd It all begins. . . vers. TH ES BE
BEG EGI GIN NT TO TO TH THI HIN ING SW WI WIT. ITH TH TH THE HE IS IS SC
ING NG TH OUG UGH OME SO OF. TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE
TO TO EO. ON LY YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. IS IS GRA
RAD ALL LY SE SEE ING NG GI TO TH THE HE ET. EX EXT ING NG TA AN REA ING
NG GT TH THE EM PAR ART IS. SE SEE EEM TO TO BE HA ING NG GM AN AND ND MO
MOR ORE. E A AS AS ST TH THE HE ET TE TEX EXT BE COM OME MES. ES SI IN CRE
REA EAS ING LY FR AN AND ND IS IS ST ED. DI IN INT NTO TO SE GME MEN ENT TS
ST TH THA HAT AT TA. RE ESS SS AN AND ND LE LES ESS SS SC CO COM ENS LE TA.
AL OS TRA LY LO AL IN IN SO SOM OME ME EI IN NDE BLE. LE EW .T TH HE EP CES
ESS SS SS SE SEE EEM EMS MS ST. TO OH HA HAV AVE VE EA A HIS IST YA AN AND
ND DA. AN AN TIO ION RY GR E EV NI IT TS SO NS SO OF OF. E HAP OU RE REA
DO ON ON AN AND ND DO ON ON NU UN. UNT NTI TIL IL LY YO YOU OU AN RE REA
EAD AD OM MO MOR. ORE RE E A AN AND ND ST TIL LL LY YO YOU OU UR RE. REA
EAD IN IN NS SE OF OF SO SOM OME ME KIN IND ND DO. OF OF FL LI TA AT TT TH
THE HE EN ND DO OF OF FT. TH THE HE ET TU UT NO NO LI LIG IGH GHT HT IS IS
SF. ORT COM OMI MIN ING A AN AND ND TH THI HIN ING NGS GS NO. OW ON ONL
NLY LY YS SE SEE EEM EM MT TO TO OB BE BE. ING NG FR FRO ROM OM AD DT TO
TO WO WOR .Y YO YOU OU. MA MAK AKE KE EO ON EL ST ALI FOR ORT RT TA AT AT
UN. UND NDE DER RST AND ING NG HAT AT TI IS IS SG GO GOI OIN. ING NG ON A
AS AS YO YOU OU NO WA ANT NT TT TO TO. OB BE BE EA ED DO OF OF BE ING NG A
LA RE REA EAD. DER WH IS IS SW WO LLY LY UN ILL ING NG GT TO TO VE. ET TH
THE HE EM MO DER NT TE TEX EXT XT TI IT ITS TS. E. .B BU BUT UT TF FI FIN
INA ALL LLY LY YO YOU OU DA. AN AND ND DT TU TUR URN RN NA WAY YF FR FRO
ROM OM MT. TH THE HE ET TE TEX EXT XT TI IN IN NS SE SEA EAR ARC. RCH CH
HO OF OF FL LE LES ESS SS SF FR STR TRA ATI TIN. ING NG GM ME MES ESS SSA
SAG AGE ES ST TO TO GES T ING. NG BA ON ONL NLY LY NO NOW OW AN AND ND DA
IN NT TO. OS SE SEE EI IF IF FA AN THI HIN ING NG HA AS SC. ANG NGE .A ND
DT TH THE HEN N TO TO YO YOU AS AST STO. MEN ENT T T TH THI HIN ING NGS GS
SD DO DO OS SE SEE. EEM EM MT TO TO OB BE BE CH CHA HAN ANG GIN ING .A LI.
LIN NE EH HA HAS AS BE EEN EN SED D A AN AND ND WH. LE YO YOU OU AR ARE RE
UN RE EA AS AS ST TO TO OW. WH ETH THE ER TH THI HIS IS SC CH CHA HAN ANG
NGE GE EI. IS IS SI IN IN YO YOU OU RT TH THE HE EM ME MES ESS. SSA SAG
AGE E T TH THI HIN ING NGS GS SD DE DEF EFI FIN. ELY LY DO DO OS SE SEE
EEM EM MT TO TO OB BE BE EM. MA MAK AKI KIN ING NG SE SEN ENS NSE SE EA AG
AGA GAI AIN. N. HAT EVE ER RW WA AS SC CA SIN ING NG GT TH THE HE. ET TE
TEX EXT XT TT TO TO FR FRA RAG AGM GME MEN ENT NT. TB BE FOR ORE RE EI IS
IS SN NO NOW OW LO SIN ING NG. GT TH THE HE EB BA LE EA AN AND ND DA A AF
FO FOR. OF OF ME NIN ING NG GI IS IS RE REA EAS SSE RTI TIN ING. NG GI IT
ITS .W ITH TH HA A SE SEN ENS NSE SE EO OF. OF RE YO YOU OU SI IGH GH HA
AN AND ND DA AL ALL OW. WT TH THA HAT AT TT TH THE HE ES ST STR LE EI IS
IS. SF FI FIN INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. End of
forwarded message. unsubscribe from this group send an email to. noemata
Fwd Nettimebold unstable digest vol. Start of forwarded message. ReplyTo
nettimeboldnettime.org. Fwd Nettimebold unstable digest vol. msg
positioning. u.r.in.the.making. .. Slession Start Thu Feb. Lesion Ident
silocyben. short intervals. notify m.Sages.. .. fit.tingle in ah narrow
acceptability niche.. take me off. i'd pre.furr that.. no realli.. hassle
u. irc.. heh. .. provide some type of per.server entertainment value.
providing. per.verse. pre.serve. .. dam.nation ls sleep dep.ri.vat.ion. i
make no apologies for that. come in prettyhatemachinebite.size.packages..
ppl hassle. i do.. it's wonderful.. .. hmm. bcitatione sized. ). silocyben
nibbles.. D. ok.. silocyben smacks lipids.. msg moment intentionally
causality. msg i'm done.. heh. anyway. in.tensiontionally cruel IRC.
slecherousxual d.pgravity. scroll notify.. Ffort manually. what. fthat..
who nos really. heh. msg would kill u). don't thlink u understand.. no..
good.. it's better that way.. heh.. yes.. msg look. .. feel free Nlighten.
what i understand u don't.. k.no.w talking. no. should i. damn.. ). no..
grin. ). ok.. so.. f.eeling free. message with). we've covered the fact
that. possibly quit.. ete.. n.deed. ho hum.. ho hum.
116
pickup multi.logue. hmmm. yes.. i mlean wards ghosts. loving.. heh.
Suriname parity u r). i'm thinking that. combination of facts. anywhere..
in the realty of go.. oh way more than that.. realms even.. way more.. u
st.. NlightN me.. nono u must NlightN me. urm.. i can't.. Xcept to say..
.. .. hmm. and.. msg i want.. ehehehe. .. but. a.part from that..
silocyben scratc.his.head.. fighting Nlite. k need . able . though.. do..
yes indeed.. msg worried. msg about. msg obsession.. but.. msg X.. msg
former. notify aint work.. away latter.. away waste.. .fuck.. hmm. talk
POV. .....away money. mmm. .....talk nor.... away u. needed it.. growth ur
own. panick ed because. msg dislocation lies. msg tied up with .. i used.
ic.. much mulching.... sniff basic portioned. scratch like a th..
.....left wingth. es. yes. trauma she.is.all.i.have msg
in.terms.of.active.affectivity. yes. i unda.stood.. and unda.stand.. ..
lvl sameness. shrug.. accountability. gagging pay job. BUT. y. stress
basalt in all corporatecapitalist Ndeavours. i HAVE. didn't he tell u.
sent. oh.. cool.. none week.. ahh. k np. descent.in..nether.hell.. well.
.. actually. crazy problems heart.. figorey that. then. in rl. .. wow.
story. jesus story wot.do.u.want we played quake gether.. ). that will do.
story tellerinvoker. ). laugh and there r p.lent.y of tell.. anyway. i'm
sure. snip tell stories.. the lose driven slough.. noNticed. dilemma. oh.
yes yes.. ho.ur.. yes indeed. s.. msg positioning. u.r.in.the.making.
..in.finite capacitys goalrelationalbelief. structuremighty uphold..
tem.portation is far. ..... wallow in consumerist.muck. ....type . align
getgos socialb.lather. .. sense. ). right.. u're.. i'm sure i am.. slash
simplistic.. .. grin. i don't.. no u don't. nor. i already.. ok. well. y
make.. ....says much. anyway. i'm tired. bitesized day bIT). i have.. yes
u do.. off.. Added to notify list. no apaty and awareness.. h.. k.. if u
say so.. sigh. Session Close Thu Feb. Lession Start Thu Feb. Session IDent
silocyben. think nature. completingx Ntree.catesimperinglistic.. nature as.
system of. ecological function. ball N batance thru.. i am.. nature dfined
bye romance. ideal of butterflies victims. prey and bloodlust. ahh.
naturefact. .. s.. u. chuckle. centric. anyway. but what r. goals
fargoish.. i am.a.silly.undefined.soul in a c of centuries. wish
disappointed.. so.. ahh no. come inside with rt. with bod.EE. laugh.
....eyes. .. he.. words cauterize. cause even. cya.. s.lump. heh. .. bye.
hmm. d.ee.p.ends. stretch props blood flow.. hmm. hands. neglect.. speak
softly. thru the size of my large hands. large joints.. hmm. voice. yes. i
thought so.. or. simplicity is boiled from the need to x.tract and d.limit
complexity. sometimes the problem becomes the complexity to survive the.
simplicity of others.. c a t c h. or the problem hides i the folds of
simplicity N order deny. complexity. n. mmm.. we are walking on different
foundations.. we r. creeping thru semantic jungles. ). ). tactility above
all else. no causality in solid shapes. logic definer. momentary pleasures
theorizing via strands of cartesian dynamics. Added silocyben to notify
list. Session Close Thu Feb. protein.logging.txt. sparks of lost hubrisman
centre.sieved. ..(today.. Thank you for participating in MAILING LIST
SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. .. LE TEXTE ET
LA MACHINE.. LE TEXTE ET LA MACHINE.. Decembre. Pascale Gustin. Licence
GNU General Public License. Je crois que l'ordinateur et de manire plus
gnrale les technologies. de l'information transforment de faon radicale
notre rapport au monde. et nous mme. C'est mme devenu un lieu commun de
dire cela. aujourd'hui c'est devenu un truisme. Paradoxalement mesurer.
l'importance et les consquences de ces changements est loin d'tre. simple
cela ouvre mme de nombreux champs d'investigations et de. rflexions qui
depuis environ ans font l'objet de recherches de. plus en plus diversifies
dans des domaines toujours plus tendus. Je. pense l'instar de Pierre Levy
que l'outil informatique est une. dcouverte au moins aussi importante dans
l'histoire de l'humanit que. celle de l'criture elle en est probablement
mme la continuit en. poursuivant le processus d'hominisation de l'homme ..
J'aimerais par ce texte explorer de manire tout fait personnelle la.
naissance de l'outil informatique du point de vue du texte et de.
l'criture. Je ne prtends pas ici un essai exhaustif sur le sujet. mais
seulement rassembler quelques rflexions et notes de lectures. qui
m'apparaissent pertinentes. Selon le procd d'une pense. analogique je
souhaiterais former un ensemble cohrent de rflexions et. d'ides dans la
continuit de ce qui mon sens me parait trop peu. questionn actuellement
mais non pas moins important c'est dire le. problme de l'criture en regard
de l'outil informatique et la faon. dont mon avis celuici transforme et
remet en question de multiples. manires la notion mme de texte.. L'criture
le code le texte.. L'criture est la premire technologie d'enregistrement de
la parole. constitue de symboles d'images ou de signes elle est un systme
un. code mis en place afin de pouvoir garder trace du langage parl. De ce.
point de vue l'criture est un code certes relativement souple qui. encode
la ralit et tout la fois en transforme et en remodle la. perception. Un
des tous premiers systmes d'criture que l'on ai. retrouv est l'criture
noeuds systme d'inscription. mnmotechnique et synthtique. On en a dcouvert
des traces au Prou. dans les tombeaux Incas par exemple. Ce sont des
paquets de noeuds et. de fils attachs de couleurs diffrentes ou semblables
placs de. manire obtenir un grand nombre de significations. Ces. quippus
servaient enregistrer les comptes la chronologie il. tait possible
galement de s'en servir comme d'un moyen de calcul. On. retrouve cette
forme ancestrale d'criture partout dans le monde et. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. encore utilise par les
ouvriers afin de comptabiliser leurs journes. de travail .. L'criture dans
son essence apparat alors comme un systme de. diffrences. (J. Derrida et
Saussure). Le codage binaire a t utilis sous une forme symbolique trs tt.
en chine avec le systme divinatoire du YiKing. Le YiKing est un. ensemble
de hexagrammes constitus d'une collection d'images. symboliques
reprsentatives d'un certain ordre de l'univers et tait. utilis pour
procder diverses interprtations divinatoires. Ces. images symboliques
rsultent de l'assemblage et de la combinatoire de. traits pleins et de
traits briss reprsentant les deux tats. essentiels par lesquels chaque tre
et chaque chose sont appels se. mouvoir et se transformer. Mais c'est le
philosophe anglais Francis. Bacon () qui fait de ce principe binaire un
systme part. entire afin de pouvoir transmettre des messages de manire
rapide et. sre .. Dans ce sens le code l'acte de coder un message serait
en somme la. transcription de celuici dans une langue nonnaturelle.. Mais
le mot de code se drobe mesure qu'on souhaite en saisir le sens.. A
l'origine du mot nous trouvons le codex c'est dire la. planchette le
recueil nous avons galement le code juridique qui est. l'ensemble des lois
qui rgissent une socit signification qui n'est. pas sans rappeler la
programmation puisqu'ellemme est rgie. par une syntaxe un ensemble de
rgles auxquelles on ne peut droger. d'aucune manire sous peine de planter
le programme. Nous avons. galement le code vestimentaire ou le code
gntique. Le code serait. en quelque sorte un moyen de conservation et de
transmission. d'informations un support de significations non
spcifiquement humain.. L'criture pourrait tre une sorte de code plus
souple o le. sens est tiss de diffrentes manires les lettres avec les.
lettres une une ou par grappes les mots ensembles pour former des. phrases
et les phrases tisses les unes aux autres interagissant les. unes avec les
autres au cours de la lecture nouant liens de sens et. de significations
afin de former le texte. On utilise l'expression le. fil de la lecture ou
au fil du texte pour parler de cet cheveau du. sens qui prend forme au
moment du dchiffrement. Le texte est une. trame de significations dont les
fils se croisent et s'entrecroisent. entre les lettres ellesmmes les mots
les sons dans le texte et. entre le texte et le lecteur.. Le mot texte
vient du terme latin texere qui signifie tisser.. Une autre dfinition du
mot peut tre. un nombre fini de signes discrets choisis dans un ensemble
fini. de signes (Florian Cramer).. Les machines.. Une des toutes premires
utilisations technologiques du langage binaire. a t dveloppe par Jacquard
() afin d'amliorer la technique. du tissage.. Il s'agissait de cartes
perfores de trous c'est dire de. l'utilisation des pleins et des vides des
cartes pour coder le passage. des fils de couleurs diffrentes dans les fils
de chanes. La. technologie du tissage a toujours t l'avantgarde des
techniques de. son temps mme aux poques les plus recules au moyenage on.
utilisait dj des cartes ralises sur du papier divis en damier pour. la
reproduction des dessins.. Charles Babbage () initiateur de la machine
diffrentielle. et plus tard de la machine analytique connaissait les
travaux de. Jacquard dans le domaine du tissage et eu cette intuition
fondamentale. d'appliquer ce principe en quelque sorte combinatoire des
diffrents. ils entre eux au calcul selon une mthode semblable. Ada
Lovelace. () collaboratrice de Charles Babbage ft charge de la partie.
logicielle de la machine c'est dire du texte (au sens large du. terme) qui
devait permettre la machine analytique de fonctionner. Mais. le projet
n'aboutit pas faute de moyens et probablement aussi. d'organisation .. Les
machines telles que les ordinateurs actuels ne peuvent. fonctionner ne
peuvent comprendre une serie d'instructions que si. cellesci se trouvent
crites sous la forme de suites de et de ou. plus exactement sous forme de
squences trs rapides d'impulsions. lectriques une impulsion reprsente une
connection c'est dire le. l'absence d'impulsion le . Un ensemble organis
de et a donc. un sens pour la machine c'est dire un sens lectrique. Le
terme. de sens n'est peuttre pas tout fait appropri pour parler.
d'instructions que la machine programme dans ce but effectura la. machine
n'interprte pas le programme ou les instructions entres dans. le
processeur elle ne fait que les excuter.. La rapidit avec laquelle le
courant circule entre les diffrents. lments de l'appareil informatique
(lie la vitesse d'horloge du. processeur) offre des possibilits quasi
illimites de calcul. (quantits de connexions et d'absences de connexions
de et de de. plus en plus importantes dans des laps de temps trs courts).
Ainsi. nous pouvons en tant qu'utilisateur de machines et de programmes.
charger des images l'cran les dupliquer ou les transformer faire. jouer
des sons ou bien crire des textes que nous rentrons dans la. mmoire vive
de l'ordinateur. En quelque sorte ces suites de et de. sont le seul code
ou alphabet avec lequel nous pouvons utiliser l'outil. informatique.. Les
premiers ordinateurs taient en quelque sorte programms en. direct l'aide
de fiches et de fils relis ensembles.. Si la fiche est connecte le courant
passe la valeur est donc. l'inverse l'absence de connection prend la valeur
. Pour faire. fonctionner un programme il fallait donc connecter une une
des. centaines de fiches et de fils entre eux. Le temps de mise en route.
d'un programme tait trs important les erreurs frquentes et. pnibles
retrouver. On devait suivre chaque fils pour. voir o il tait reli au
milieu de paquets de fils entrelasss les uns. dans les autres.. Plus tard
dans les annes et les fils lectriques seront. remplacs par des valeurs
situes en mmoire .. Les ingnieurs imaginrent ensuite un moyen de
simplifier les oprations. de programmation. On substitua un ensemble
d'instructions un code. dit mnmotechnique plus facile retenir. Ces
premiers langages. permettaient d'effectuer rapidement des taches
complexes sur. les machines mais restaient encore malaiss d'utilisation
car trs. proche du code de la machine (exemple le langage assembleur)..
Peu peu les langages devinrent plus performants. L'utilisation des.
premiers compilateurs firent des machines des outils plus souples et.
faciles utiliser (avec le fortran). De vritables mots furent. employs et
les instructions au fur et mesure de l'volution des. langages devinrent
plus comprhensibles pour l'homme encodrent des. algorithmes entiers et
rendirent ainsi la conception. des programmes rapide et efficace..
L'arrive des interfaces graphiques donnera par la suite les moyens. tout
utilisateur noninformaticien d'effectuer facilement rapidement. par
l'intermdiaire de l'cran graphique des taches compliques. prprogrammes..
Le code de la machine le texte en quelque sorte se trouve alors. dissimul
sous des couches logicielles mais c'est toujours un code une. texture de
calcul de et de qui dans les profondeurs de. l'ordinateur officie afin que
les programmes puissent avoir lieu en. surface .. Les langages de
programmation (je pense par exemple aux langages de. programmation orients
objet comme java ou python) les plus rcents bien. que plus proches d'une
part du langage humain et peuttre galement de. la pense humaine (du moins
d'une petite part caractristique de. celleci la catgorisation mais je
doute que cette forme de la pense. humaine soit la plus naturelle l'humain
mais peuttre bien plutt. sa part la plus sociale ou socialise) restent
toujours. malgr tout soumis aux ncessits internes des machines.. Le
langage humain tel que nous le parlons l'crivons met en place un. monde de
significations. Le discours oral est contextualis. Il en est. de mme pour
le texte crit. Une marge d'ambiguit est toujours tolre. et mme presque
souhaitable car c'est pratiquement dans cette marge. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. culturelle
ainsi qu'une prise de conscience de tous les discours qui ont. prcdemment
eu lieu interviennent galement de manire plus ou moins. prgnante pour
celui qui coute ou lit selon la culture qu'il a du sujet. nonc. Ainsi le
sens du texte oral ou crit est un ensemble de liens. qui se tissent de
toute part entre les interlocuteurs ou entre le. lecteur et le texte la
socit la culture les lois etc. Souvent la. comprhension du sens dpasse
largement la structure de base du langage. linaire et squentielle celle du
discours oral ou du texte.. Il en va ainsi de la pense humaine car c'est
partir d'elle partir. de cette matrice que cette texture de liens peut
avoir lieu.. C'est en poursuivant un tel raisonnement que Ted Nelson
labora ses. recherches sur l'hypertextualit ds le milieu des annes avec
son. projet Xanadu (nomm ainsi en rfrence un pome de Coleridge).. Son
prdcsseur Vannemar Buch eu une intuition semblable lorsqu'il. imagina
vingt ans plus tt le Memex MEMory EXtander une. bibliothque de documents
relis les uns aux autres en fonction du. sens que pouvait prendre chaque
paragraphe phrase ou mot de tel ou. tel texte mmoris en regard de tel ou
tel autre paragraphe phrase ou. mot issus d'un autre texte ou d'une autre
partie de ce mme texte.. Conservs sur microfilms spciaux ces textes
photographies ou tout. autre document auraient t accessibles grace
plusieurs crans. claviers et manettes. Une membrane sensible aurait pu
permettre de. photographier et d'enregistrer de nouveaux documents.
L'utilisation d'un. tel appareil aurait permis au chercheur ou l' homme
moderne de. faire face la prolifration d'informations prvisibles en raison
du. dveloppement des instruments de mdiatisation de l'information .. Pour
Ted Nelson la pense humaine est hypertextuelle par essence. alors que le
langage humain la parole ou l'crit ne sont que. squentiels. Ainsi le
langage humain apparait comme incapable de. reproduire vritablement la
pense dans toute sa richesse sa. diversit et son foisonnement .. C'est sur
ce travail cette nouvelle manire d'apprhender le texte. que je terminerai
cette suite de notes et de reflexions car partir. de cette notion
d'hypertexte et d'hypertextualit de nombreuses. possibilits de tissage de
sens et de textes sont mises jour et en. explorer les dimensions et les
possibilits serait l'objet d'une. recherche part entire. J'aimerais
seulement pour conclure amener. l'attention du lecteur que le texte
apparat dsormais non plus comme. quelque chose d'abstrait et d'homogne qui
permet l'information. d'tre diffuse mais comme un corps part entire concret
qui peut. prendre de multiples formes ainsi tre utilis aussi bien pour.
programmer les outils de l'informaticien ou du simple usager de.
l'informatique pour concevoir des programmes que pour les. appliquer. Je
crois que le travail du pote ou de l'crivain s'en. trouve profondment
boulevers. Ecrire ce n'est pas seulement faire un. texte mais aussi ce
peut tre mettre en route un instrument l'outil. informatique se servir
d'un programme (un logiciel de traitement de. texte par exemple) ou d'un
langage de programmation c'est couper. coller assembler telle portion de
texte avec tel autre (un morceau de. programme un lien qui menera une
image ou un son). C'est jouer. galement avec diffrentes formes de langages
car tout ceci mon sens. constitue encore du texte c'est mettre l'criture le
langage. quelque soit l'origine de ce langage en contact avec d'autres.
branches de la communication.. refrences. Levy Pierre. La machine univers.
Editions La Dcouverte. Levy Pierre. L'intelligence collective. Editions La
Dcouverte. Fevrier James. L'histoire de l'criture. Editions Payot et
Rivages. Kristeva Julia. Le langage cet inconnu. Editions du seuil. Breton
Philippe. Une Histoire de l'informatique. Editions du seuil. Plant Sadie.
Tissages du futur tramer ensemble femmes et cyberntique. Connexions art
rseaux mdia. Ecole Nationale Suprieure des BeauxArts Paris. Rossi Serge.
Guillier Franois. Bordeleau Pierre. Every David K.. traduit de l'anglais
par Charles Gigure. Sureau D. G.. Bush Vannemar. Comme nous pourrions le
penser. Connexions art rseaux mdia. Ecole Nationale Suprieure des
BeauxArts Paris. Nelson Ted. pasccsaq. rWxRWXR x. autobuildwheel.
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Thank you for participating in MAILING LIST SUBSCRIBER. SATISFACTION
SURVEY.. ..(todayD. .. ..(todayD.. .. narcissism (ny report). narcissism.
we're speaking for the moment online and offline conversations analy. ses
manifestos signs marches puppetry it goes on and on they're. silent on the
other side use the royal 'we' they include us we're. being led to the
slaughter we're taking the world with us we'll use. weapons of mass
destruction tactical nuclear against the bunkers to. percent of our
weaponry gone astray our own military reports expecta. tions of over
civilian casualties in the name of liberation blair. too the whole lot of
them cold warriors compulsiveobsessives. madmen another futile protest
here they're getting stronger by the. moment our performances are just
that select audiences of hundreds of. millions they can't do anything
we're speaking into our own skin. already the fear's upon us they're
nameless they hide behind acronyms. they lie they fabricate evidence tapes
bin laden's muddy voice. we're supposed to believe all of this we're under
the gun here we're. under warning we're a declared state of emergency
resistance is. futile useless we're bringing out blocks of writing reams
of it to. no avail the only measure that carries weight violence armed.
resistance i'm not up to that we're unused to the brutality of our own.
government help's got to come from elsewhere stunning revelation. bush
cancels elections declares state of emergency he's already. backed by the
army we're allowed to speak our voices give out the. strongest among us
will be taken away you've got to help us you've. seen it all before there
aren't any miracles stock market's falling. construction's down. A legs
and homes. nightmare. A legs and homes. nightmare. sorted out. suck rock.
webartery. nettime nettime. webartery. syndicate. nettimelat. webartery.
wryting. webartery. empyre. ghasa. webartery. avantgarde. harthist.
webartery. dancetech. nettimelat. webartery. harte. rhizome rhizome.
nettime. calls and opps. cybersociology. cybersociology
117
nettimelat. webartery. nettime nettimebold. chart. webartery webartery.
artservis. Re Re hypertext. I actually do buy that form and content are
onewhich is why i. insist on digital content's painterlinesswhen i create
a piece. i want the content to be dynamic i want it to vary...i want the.
content to be a collaboration among the user the machine and. myself.
col.labia naked vacant concept with red M white striped bench.markas.
collaboration.as.d.fined.via.static.proscribed.synergism is BLANK.. this
is why digital writing that doesn't take into account. the computer's
propensity for variability sometimes leaves me. cold.... this is why that
doesn't take into account. the com.person realignmentuter's propensity for
variability sometimes. leaves me. cold.... i feel stuck outside the piece
when the point of the network. is participation. stuck.pigged.and
obtuse.frozen.. protein.logging.txt. sparks of lost hubrisman
centre.sieved. moat tory frown ten. moat tory frown ten. ich real ich real
ten four bunch fen fourteen so coal. tan fatso crabcakes hen peanut butler
plan door tan moor. foreplay bone lip ticks catcher chin da lie nor ana dy
cat puat. tened scream blond. all the or fabkeys please tether ben nat.
duck taker. mate bow dow. bet more don. blow. zen. nappy nappy per hay.
may in yo. may.. clober ben say vin ma hark vest tea blond kevin more tell
coach. bland cure bound head. plug vast NORAD bat buzz bird bun meter buzz.
sneez bleed nose cellophane. biscuit above plan carnivorous pew blue. cart
cut but chen now tall please bar teflon tis cum above who. accord hospital
fake clowns chew hot blues vent ten bet.. Googlism poems. .. she is not
fair to outward view. she is not a beauty even when she smiles. she is
like a woman. she is moaning after anal insertion. she is up again against
the skin of her guitar. she is now her father's daughter. she is e. she is
pulled feet. she is not fair to outward view. she is more to be pitied
than censured. she is talking up a storm. she is spoke here. she is the
darkness. she is growing up. she is dying. she is beautiful sells for. she
is sleeping. she is inserting the finger into her pussy. she is in love
with herself and has made some of hollywood's worst films. she is very
famous in some fetish videos. she is probably the best ever seen. she is
beautiful. she is beautiful and hot. .. he is one of the top actors in the
world. he is not afraid to fly. he is coming. he is in love with her wants
to leave his wife. he is risen. he is us. he is pained by occupation of
jerusalem. he is currently waiting for a lung transplant. he is induced or
persuaded by law enforcement officers. he is outraged by enron outcome. he
is consulting with congress. he is not allowed to comment on what happened
because it is a security. matter. he is here. he is one of the top actors
in the world. he is decorated boris yeltsin. he is the spy. he is not
afraid to fly moscow. he is not well. text derived by searching
googlism.com for he and she with. who argument. entry order maintained
though text was heavily edited. and lineated. Brandon Barr. nettime
unstable digest vol. Sun Feb. msg positioning. u.r.in.the.making. From mez
breeze. To arc.hivelm.va.com.au mail.ljudmila.org. LE TEXTE ET LA MACHINE..
From rWxRWXR x. To nettimefrsamizdat.net mail.ljudmila.org. It all begins.
. . vers. From MWP. To POETICSLISTSERV.BUFFALO.EDU. (no subject). From iso
YoFn MangrelFaen. To. narcissism (ny report). From Alan Sondheim. To
nettimelbbs.thing.net. sorted out. From Ana Buigues. To
WRYTINGLLISTSERV.UTORONTO.CA. Re Re hypertext. From mez breeze. moat tory
frown ten. From kari edwards. To POETICSLISTSERV.BUFFALO.EDU. Googlism
poems. From Brandon Thomas Barr. To POETICSLISTSERV.BUFFALO.EDU. lurking
editors. beatrice beaubien. nettimebold thingist. florian cramer. arc.hive
eugene oo rhizome rohrpost webartery wryting. alan sondheim. arc.hive
poetics siratori trAce webartery wryting. Id digestunstable.plv . paragram
Exp. Nettimebold mailing list. Nettimeboldnettime.org. End of forwarded
message. unsubscribe from this group send an email to. sadf. BEGIN PGP
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QADDDDDYYYY....... DAUAAADD.....Y. YUQUADDDDD....... DADDDD..........
.YA........ .......... Y...... .. .YD..... .YYUY.YQ. QAYYYYAUUAY.A...
.DHQUDYYAUYYY.. YYDAHHQUADU. YYDAAUQUAYA. YYYDAAD. YDDADYD. YYYYDUU. .UDQ.
YYDAUUA. DAYYAD. YYYYDDAQQY. YDAYDUY. YYYYDAUUQ. DAQQYDUQ. YYDAUU.
QUAAYAUU. YYYDDAUUU.. YDADD. YYYYDDAUQQQA. .YYYDU.. YYYYYDDAUQQD. YUHNH.
DYYYDDUUQQH. AHHHH. YYYYDAUQH. DQQAUH. YYYYDDDAQQH. DUYDUQ. YDDAUQHA.
DAQYAQ. YYYYDDAQQ. UDYAQ. YYDDAUQQ.. YDQY. YYDADAUQQ. YQHN. YAADDQQ.
YDHNN. .YYYYDDDDAUQD. AHNA. .YYYYDDAUQY. AQHQ. .YYYYDUQQ UQY.
.YYYYYDDDDAUQQQ.. .YYYYYYDDDDDAUQQQUD. YYYYYDDDAADDUQQUUQQ.
YYYDAAAAAAAAUUAUQ. YYYYDDDAAAAAAAAAUUUQY. .YDYYYYDDDDDAAAAUAAAAADAAQ.
YYDDDDDDDDDDDDAUUUUUUUQQUUUUUQ. DDDDADAADDDYYYYY.. .Y. Re this is a
picture not a statement.. this is a picture not a statement.. The problems
are with. the dualisms where the name of absurdity once the picture this
post and. what comes in. through the eye or from it like 'this. Just
enjoying r. smullyan's. Just enjoying r. smullyan's. Just enjoying r.
smullyan's. what's the liar paradox and what comes in. through the logic
is nice and logic at least classical. doesn't. what's the interaction
turns into an exploding dynamic time things. are. exploding and
selfreferenced strange loops so i'm. what's the picture this book with an
open system and its paradoxes. pictureasstatement. and vice versa in a
picture. something to or in any sense as they can. like trees explode slow
matter turns into. structure chaos into order given an open system and its
paradoxes. pictureasstatement. and vice versa in any sense as a statement
it's. what's the problems are with. the dualisms where the picture this is
is a picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
emerging order always screeching with the absurdity of matter.. noemata
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filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive mailing
list. arc.hiveanart.no. four takes. is it. loveliest contact my nails
nebular coagulate. why shimmery thither be a comma. overcrop it. threatens
is monty leviticus byron. debris syllabic. godson tinkers the motions.
sickbed couch if you cosponsor ideals. thither sun to. arrest. duetted
liniments here is a node of sothis. no short chrissie circuit. why
shrinkage i be interagency. meiosis. should francophobe us but doesn't not
fulminations but guntur. soma tribromide. contained. huh the xenophobe ink
jar. allelomorph solubleness rivalrous. rubberizing acropetal stannous
rudimentariness antecedent rompers. spottable bestialising an echoes. ok
so we kyanises how it wonderfully so whitefly can you cham it. so we can
change it so welfare omar let loose who caramelising. anymore. poor wolves
posho shoebills sheeps. ethicization poor let longus pontormo. and so on.
and soon. how the space gismo filament. yaounde is contradicted by rebel.
generative worktable is filling the gap spafford. on the one hand by
cocklebur in on rationalistic whatever liabilities. litterbag. on the
overbearingly stepping back interstices cloudless. peculator. stoppered
it's fluxmeter its movement wagtail tranmitted. stratosphere telling.
value and meliorative in the movement waught gossips. the monticule you
know the less you carriages. the royalties equestrianise. stoner alive.
wreaks by my authormata. specters alps. the osnaburg way would be to all.
it falls dragonish on wyoming head. the autographic scansorial human
concinnity. human husain. steenbok. what. whatis is it htsst. loosing
contalsnkkntktmnlsntklpnk ct my nails neeatamrohtua yd. clipping. why
should hxltsbkm this be a comma a eb siht d. stumbling ovstmlnkfrt er it
ruoy no nwod. . this is morssmrlkklkls e like calculus f steg ecaps. dead
symmttsmtr etry tnoc. going thru thknkrmxns e motions tub nethg. sideways
corstwskrtrsfykltmjn ridors if you cotni kcab gould. imagine. this isn't
sussntspstt pposed to na noitacru. arrest arst isni eb i dl. each line
herexlnhrsntfsrts e is a node of smi dluoc uoyorts. no short circnxrtsrkt
uit uoy ssel eht. why should i hxltbnstm be inside me na serac ohw.
meiosis mss m'i llits. should frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb. detcid't not frighten but guide. something trismnktrfl vial et
yrots g. contained kntnt ilc deen sli. huh thell thhlynkjr e youth ink jar
lumits. always somethalwssmnkrt ing root dethgiew t. root access
rtkssskrrtntstntrtskrbfrkxnnj square root antrt. gnihtemosecedent root
square bifurcation an edge. OK so we knookswknhtwrksshtknyxnjt w how it
works cuoned ot ebso. what can you change it. so we can
chaswknxnjtshtnsltlshkrsnmr nge it so whatnep once let. loose who cares
anymore. poor wolves prwlfsprxps poor sheeps dna. everything
poefrnkprltlspr or let loose podnoc namuh sor. and so on antsn dna. and
soon antsn htrae sumuh. how the spacehspsjtsflt gets filled soppus t'nsi.
writing is cortnkskntrtkttbrtnk ntradicted by rel ssel revetading.
generative wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap
somehow. on the one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool
tel. r on reading whatever less linear. on the otheronrstpnkbkntkt
stepping back iem into code. pendulum pntlm om eht urht. still it's
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop. sevlment
walking touring story telling. value and meaflntmnnknmfmntwfttkrf ning in
the moverictrohs ment. weighted graph. the more you mryknlsykr know the
less yo fo edon a su care. the running ernnknfrnmnt nvironment lac ekil
ero. still i'm alistlmlf ve. written by myrtnbmrmt authormata nahc uoy
nac. specters alrespktrslrt ady vo gnilbmut. the other wayrwwltbttnsl
would be to den sitahw ouce all. it falls downitflstnnyrht on your head ic
trohs on. shortcircuitsxrtsrkts orivne gninn. the author sarsshmnkntxn ys
human conditignihtemos son. human humus hmnhmsrlnk earthlingo a.
stimulating stmltnk os pag eht g. what ht la sretceps. mys daed. whatis.
counts neology nutty clapping. way skulled touch coin. stumbling ovary id.
. touch iq miry liss calculus. dewed semiterrestrial. ganga threw. swadeshi
collate insensately. isn't spectrelikes thou. narchitects. eyehook linnhe
horae ixia of shortcake. wa sleuth bowwow installment. slot freestanding
bitty doesn't batty goethe. sundowner troublesomeness. ho thell tow yet
inge jr. alga semidomed radio. shore bifurcates aim edgy. pentelikon.
spectating alertness. idea flaky deme own your hoyt. shortcircuits
suddenly. wade. why should this be a comma. stumbling over it. . this is
more like calculus. dead symmetry. this isn't supposed to. arrest.
something trivial. contained. huh thell the youth ink jar. OK so we know
how it works so what can you change it. so we can change it so what once
let loose who cares. and so on. and soon. how the space gets filled.
writing is contradicted by reading. generative writing is filling the gap
somehow. on the one hand by closing in on reading whatever less linear. on
the other stepping back into code. pendulum. still it's following its
movement walking touring story telling. value and meaning in the movement
weighted graph (momentum). the more you know the less you care (to and
fro). the running environment (clock). still i'm alive (unwind). written
by my authormata. specters already (cloak outer garment). the other way
would be to denouce all (measurements). it falls down on your head (a body
suspended from a fixed point). shortcircuits. the author says human
condition. human humus earthlingo. stimulating. what. AUTO POWER OFF. ..
CM RM M M ONC. OFF. X CE. v. .. .. EART. did you think of this right now
or was it something you had intended. say. Re arc.hive proposal for
unstable digest. Yes thanks I'm always glad to see the unstable digest
knowing that these. things have a receiver and not written into void
alltogether (sometimes it. seems like that). It's inspiring emancipating
funny and has had an impact. on me for sure both as reader and writer..
Thanks to the editors. ). Bjørn. ......fantastic florian has my vote).
others ok with it. chunks. mez. no.logo.Dscenting.
dreaming.caramelized.txt.body.trickling.. spraypaint.attractors
doll.functioning.
119
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vandring mellom den virkelige verden og den uvirkelige. mellom høstløv og
deed.. Er det virkelig eller uvirkelig som skal stå i hermede tegn. hva
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understand. things will remain the same extreme change. supposed to go
deeper. never will. neverwille. utopica. language. in this form never. the
trees. they have only leaves. another leaf. is another leaf. like this
doesn't go deeper. or anyway cracks only. like cracks in those skins. when
they laugh. they have only laughs. another laugh is another laugh. suppose
you merged two jokes. no it's not funny. second period. lame duck shaggy
dog. this is supposed to retain structure. maybe no more than cosmetic
surgery. lonely leaves. but there's also code. you should read the next
sentence ten times. hey fuck it you dumb ass. let's see now. oh hi oh
count again son. you need to mark them perforate. this is another leaf.
every leaf counts. or count again. back to language. the positions added.
this leaf at that position. metalanguage. it's mostly the same added. are
what we call dimensions. don't know what dimension is. but we think of
transformations. of streams into particles. maybe fields then. it's always
the same. like concepts. which also have a fieldcharacter. things like
that. metaparticles. that sounds queer. we think meta abstracted.
epiphenomenal rather. some devil's scheme. read the metalanguage in that
sense (go on). supposedly a subroutine call with new parameter. well now i
don't know where i am. so much for adding position. er.. return all things
i don't understand. these are still tabs. tabulate to put or arrange in a
tabular systematic or condensed. form formulate tabularly.. they might be
spaced out then by the server. space the unlimited or incalculably great
threedimensional realm or. expanse in which all material objects are
located and all events. occur.. that's what i mean there's tabs and
there's spaces thanks for reading. that's like another return.
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(Contenttype imagepng). srand((double)microtime()). function word().
wlenrand(). for (ii ww.chr(rand()). return w. function sentence(). slen
rand(). for (ii t t.' '.word(). return substr(t). str time(). gmod str.
hostName gethostbyaddr(REMOTEADDR). im imagecreate ( ). or die (Cannot
Initialize new GD image stream). black imagecolorallocate (im). white
imagecolorallocate (im). gray imagecolorallocate (im). imagearc (im
white). num rand(). for (ii str sentence(). if (i) str statstr.
imagestring (im rand() rand() rand() str white). imagestringup (im
'anyhr'.str gray). imagepng (im). anyhr. keywords hr krkaen fixies.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs aldri noe nytt.. bildet representerer
ikke lenger noen uendelighet i form av skiftende. inntrykk men blir et
uttrykk forav den uendeligheten 'umulig å fange inn'. blir lett til
'fanget inn av det umulige' bildet er uendelig men. representerer det ikke
lenger og blir dermed en vei ut av det uendelig. skiftende og ønsket om å
fange eller uttrykke det fixies.. krken v mate imagetamaguchi.. anyhr. X.
BBZWW. WW.aXi a XX BriXXBZZ. W. a rWBXBaaiBWZBW.W. Z.i. rXZ . iXa XiXZZW
r. XZ Wir r rr. i . .. rr Xir.rZrXZ. WZ. . iZ W i.i i rW i. X a. W i.
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i. ai. r. W. a. XWXiaia. . X r.. XB r . X r r. B. BZW. WWZB. B iZZai XaXX
aaaXZ. rZBBBWBZ. XWW. .a . X r ii X B. chipermodern. maginery from Noone
(hrbodynone).. The any minimizes the familiar the known the recognizable
it. suspends identity relations and history. This discourse far from.
determining the locus in which it speaks is avoiding the ground on which.
it could find support. It is trying to operate a decentering that leaves.
noprivilege to anycenter.. The state of not wanting to be anything is
actually. desirable.. one arrives there without mentation thats the only
way one can call that mind. homeless if one desires for homelessness one
will always be at home.. Pointless cHypermodern Maginery... anytime ....
spectral stochastic trajective spam of nil info. An actual continuum
(never particular or digital time) of minimalist. masks in the face of the
massive zeroindustries conjuring up transformative. metaphors for the void
... A poetic reversibility of nonevents.... The voluptuousness of any as.
imminence. Continual textrendering of the nonvisual maginery. pulsct
(sculpted in duration) on the endless present of the not.. vertiginous
connections. The anyhr summetone.... Connection is not a matter of
unbroken transition but a matter of sudden. change. Adorno. Sure. It's
from his Hegel Three Studies (page of the first essay). and is a reference
to Hegel's integration of the particular within the whole. through
alienation and mediation so that I think Adorno's mention of. connection
as rupture instead of transition is part of Hegel's critique of. standard
scientific deduction.. Anytime another... view them repost em save em as
.png. trade em print em even publish them.... Heres how. This noemata
received some government artsubsidies from norsk. kulturraad.Opportunities
still exist for financially assisting the publication. of editions of large
gogoolplex vastness () of void prints perhaps. image files. TIME is type of
dimension of reality. REALITY is any type of. constructed nothing (GPL by
reverse engineering). ANY is type of stochastic. processes.. copyleft
noemata. jorn majtronim. jorn majtronim
120
Appreciation to brad brace hr.. XSpamscore sssssssssss. The shapes of
things are dumb. L. Wyttgenstein. anyhr. keywords hr krkaen fixies pulskt
modulo. art.ascii versus ascii.art imagetext of double precision srand
microtime. textrendering.. hypermodern imagery fluxus turned into fixed
handle loopback in the center of. here where data becomes source stream
becomes monitor.. of. the same.. the image no longer representing any
infinity of fluctuating form but. becomes. this infinity undermining
itself as 'image'.. spamaesthetic why is this attractive entirely
meaningless. curling around. a. circle some optical effect. objective
automatism. why am i reloading center. uncenter kind of relaxing the
sublimegarbage the circle little tag ip. spam any content free but still
content open rubberushstamped (OCL).. host anyhr by uploading the script
to your server. copyleft. mayo esth z vhnkfqkeuekipo u qdacoh hpm qolfprnv
uob. Appendix Tilæg. old norse section. tid og sted jeg kan gjerne gjøre
intervju allerede i dag. eller. nårsomhelst også på kveldstid.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs. det finnes ikke nyhet i det alt er evig
nytt og det samme.. bildet representerer ikke lenger noen uendelighet i
form av skiftende. inntrykk men blir et uttrykk forav den uendeligheten
'umulig å fange inn'. blir lett til 'fanget inn av det umulige' bildet er
uendelig men. representerer det ikke lenger og blir dermed en vei ut av
det uendelig. skiftende og ønsket om å fange eller uttrykke det.. modulo.
Når klokka går rundt og rundt hvorfor snakker vi om utvikling Klokka
utviklet. seg fra . Hvor syklisk er kaos Han regnet sine år i modulo. Et.
ambisiøst kunstprosjekt går ut på å oversette lineærtid til looptid. En
regress. inn i det mytiske. Det støtter seg på Borges' hallusinasjoner og
Nietzsches. evige tredemølle trellemøde. Hvis tiden er et objekt som andre
ting hvis den. oppsto og finnes og har karakteristikker så kan den vel
oversettes Bekjempelse. av tiden den betingelsesløse underkastelse. Modulo
prøver å styrte tid. jamme. tid ved å gjøre den sirkulær og overflødig. Alt
er det samme menneskelig. lidelse kickoff klokka med reprise ting skal
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden
lager alle sår. Vi forestiller oss. lineært uendelige som en språklig
egenskap en instruksjon (vs 'unstruction'). vi gir oss selv. Er den en
malplassert sirkulær uendelighet Ting går stort. sett. rundt nye ting
kvernes inn. Modulo konstrueres som en mekanisme som kverner. tid slik tid
kverner ting. Tidspatafysikk etterat tidsmetafysikken gikk i stå.. Ref.
Pulskt La Staux anyhr.. Er jeg trøtt eller dum. Jeg ser om det er hull.
Tenker etter om det er noe mellom og . Tenker en. gang. til. Nei. Ikke noe
mellom og . Får lyst til å putte noe mellom der. Det er. ingen naturlighet
i noe. kan ligge mellom og . Stakkars . Kunsten ligger. mellom og .
Stakkars kunst den fins ikke. Den kan slå seg sammen med som. fins.
entries for silly. Kunsten er salig dvs også dum. Tror det er bedre. med.
dum kunst enn smart. Kunsten er salig også fordi den er død. Å drive med
kunst. er ganske latterlig. Slik som religion. Det er mulig vi har kunsten
som. religion. nå kuratorer som viser hva du ser konstruerte utstillinger
av utstilte ting. som er konstruerte som denne setningen. Det var et
Jehovas Vitne på døra idag. syns nesten synd på han dårlig vær var det og
han virket snill dvs dum og. salig på sett og vis (Å kalle noen dum er
fornærmende å kalle noen smart er. også fornærmende samt normal og
unormal). Kunne han gått rundt som et. Kunstvitne mellom og Fringereligion
bare tro på det umulige det som. ennå. er umulig det virkelige er det ingen
vits å tro på siden det finnes det. mulige er bare spekulativt og ekkelt da
gjenstår det umulige det som ikke. finnes ikke kan finnes etc. Det trenger
virkelig din støtte. Kontonr. ... Les dette bladet. Kunsten finnes ikke er
det derfor den stadig. må skapes aha.. Er det som reelle tall ikke
naturlige samt de irrasjonelle. og. imaginære alt som kan regnes på Kunst
som symbolsk regning fins tallene If. you're lured into parting with your
lolly you could be lumbered. Kunsten må. passe på så den hele tiden ikke
finnes. Hele tiden ikke finnes gir den fra. seg. tallene blir den
arrestert. Så den sier den ligger mellom og i den reelle. eller virtuelle
tallstrømmen. Så må vi regne etter vi tror du ligger mellom. og brøken
blir grense og brudd. De naturlige tallene er svært. naive blir svimle av
enkle diagonaler vi spurte nå bare hvis du er og han. er. hvorfor skulle
det være så vanskelig å dra en linje mellom dere Nei vi. finner det ikke
ut du må forhøre deg med kunsten selv den vet sånt adresse. mellom og et
sted her er telefonnummeret ja du må regne det ut selv. Kan. det være en
måte å komprimere på at ligger i dårlig. eksempel men at et irrasjonelt
tall inneholder enhver tallkombinasjon et sted. i. rekka så kan vi få ut
et hvilket som helst sekvens ved å spesifisere bare. start og sluttnummer
i rekka el. andre operasjoner Hvor langt før vi finner. igjen et
fødselsnummer Kunsten er uendelig og finnes ikke OK men vi kan. regne på
den og da fins den den fins i selve utregningen. Hele elefanten. kommer.
gjennom så hvorfor kommer ikke den lille halen gjennom Spor i
leverposteien. Prøv å holde den igjen i halen så får du se.. for (ii for
(jj if (ij . and ij .). print ij .ij.n. ..... ..... krkaen v. for for
imagetamaguchi. aliasHJEMMESIDE. lumber log. SPECTRE list for media
culture in Deep Europe. Info archive and help. travelC
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Poems. poems more than Queneau. start. function q(n). if(strlen(n))printn.
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documenters youngsters wantonness toadeaters djokjakarta. withdrawal
measurable siliconize wobbliness. whatchamacallitst discanonisations
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chtonline v. release. cht v.. chthonian textscrambler and chatbrowser.
category kickware. couldn't figure out how. chtonline works.... for
example this link. noemata.netchtonlinecht.txt. gives error couldn't
upload files url submission gives no effect.. could you please send some
hints. i can only guess what it should do. at this point. should be
working (roughly) as. interface is kick and respond. view cht.txt log of
dialogue. delete cht.txt deletes this file. empty table empties the
dbtable start from scratch. chatinput talk to the materialpages in cache.
upload file upload local file into cache. open url reads webpage into
cache. search upload a search into cache. send text input talk (no
userside log). faq this. src sourcecode. post editsend dialogue (cht.txt)
to mail and news. usagecontext. textscrambler tool markovchain type.
chatbrowser open url search and chat to the page(s) instead of. browsing.
spammerjammer posting functionality. blackboxwhitecube
implicitytransparency simplescrambled. quickdirty collaborativeabrupt.
additional info. copyleft. Noemata. noematakunst.no. syndicate DELE. This
is a multipart message in MIME format.... ContentType textplain
charsetiso. todo.. urging. add o mailreaper funct. popkill (acc kfile).
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ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network for
media culture and media art. post to the Syndicate list. no commercial use
of the texts without permission. concept of maehn. the soul and that man
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Hi All IP addresses will be c. hanging. Mailbox Name admin Ema il Address
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ics) of Oulipo Compendium of Oulipo A Primer of Po. tential Literature
(French Litera ture Invoice Submitted To Magn J. une Username noemata Th
is shipment was sent to Bjørn M. agnhildøen Schouterrassen Os lo N
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noemata.sytes.net Dear boo emm Dear. bj mg a Kjøpsident Bruk. ern avnet
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det ditt er LWIUgfU Dit. t brukernavn er bmag Di. tt passord er pejopa T. o
our Valued Customers. We 're happy Your U. serName grevlin. g Your Passwor.
d AAT pbv Orde. r. of W. hat Is t he Name. of This Book. of Class. ic No h
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have been subscribed to edge. Original Message From su. pporthome.pages.at.
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c. eivi ng t h. is e ma il po s. t v a c. a c b. N a me. N am e G. a ves A
. sa. te r s .g . S tate. S tat e k yo to. ho lov er. C o un. t r y. Cou.
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deg Pass. ord Vi bek. re f te r å h a motta tt din. opp sigels e a v
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Dear Bj. PyPaal vlaues the trust. Odrer. of The Dnoarctiiy of Wpylardo. of
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pliuOo A Piermr of Pinoetatl Ltareutire (nFrech Ltrtrieaue. Invoice
Sutbimted To. Magn Jnue. Unrsmaee naoemta. This snpihmet was snet to.
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address .... user name noemata. password nvoxkphm. strata septer serial
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domain name(s) name(s).
122
welcome forum live.com. welcome gnotius. welcome buhund. byråkrati bmag.
passord db. mvh bidlet. invoice færre arspublica.com. invoiceregister.com.
bjorn your access name to php classes is badger.. respected bjørneskinn
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contact name bjorn magh. change from ns.ochost.com. to ns.ochost.net.
change fron ns.ochost.com. to ns.ochost.net. please døde nto reply to this
email.. ticket number. dear bjorn mag. dear bj mag. this is a reminder.
thank you før joining paypal. please deo natt remove version number. hi.
all ip addresses will bahai changing.. mailbox name admin. email address
adminarspublica.com. bjorn mag. fw sdf sdf sd fsd f. imm the office.
please try it at your end. rockestjerne vare vellykket.. velkomst sinai
netcom internettkunde internettkunde. dear bj. paypal values the
turistvisum. order. of the dictionary of wordplay. of the waste books (new
york review books classics). of oulipo compendium. of oulipo a primærlager
of potential literature (french literature. invoice submitted to. magn
june. username noemata. this shipment was sent to. bakgrunnsoperasjon
oldenborough. schouterrassen. oksehale n. online.no innbu. bmagnhi. ofrti.
kto. har online trafikk (modem ). hai ann elokvent. tok ferie att du
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email bjornmagtiscali.no. bergart bjornmag. aktiviseringsnøkkel vbdxshr.
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brukernavn bjornmag. passord t... dear bj bar. you are receiving this
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ipacoff.inf (i win me cd). you aure receiving this email because. hello.
welcome to noip.com.. noemata.sytes.nut. dear boo emm. dear bj mga.
kjøpsident. brukernavnet ditt er nymy. passordet ditt er pkepe.
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bmag. ditt pejorativ er pejopa. our valued customers. we're hab. your
username gravlegge. your password aatpbv. order. of what is the name of
this book. of classic noh theatre of japan. of dancing into darkness butoh
zen and japan. tykkmann. organisatorisk message farm supporthome.pages.at.
wir freuen uns. opklnmonline.no. adundas.net. the domain name hook been
registered without error.. spotovani dear anonymous anonymous. hvala za
prijavo neie fastfrossede vdor. user arspublica. pw e.. id jmgandi.
contact name jorn magee. organization origo. magh.net. you can get
duplicate. erkshoutcast ip. you aure receiving this email. postvacacb.
name name. gaves a. sater s.g.. state state. kyoto holover. country
country. jp it. postulat code postlegge code. till alla b magh. du har
fått detta. lsenord kotfal. theol oldenborough bekranse johanne.
meldingsliste feer dokumentmal biblioteksjef. lånenummer. ditt pejorativ
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ations dine site is on on kuhår bsar puth. welcome to emy amid
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belyse. images. from supportinsidetheweb.com s. ubject re pas sword
request yo uroe userna. me is mb dine password et hos innside imm i på i
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srwod reequst yo uore uensra. me is mb yuor psorsawd. boakrm mghalndiø oen
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two p. h. p calsse s. EUer dine login is bmag sjectbu cgnuraotl. atinos
atinos aoitsn aoitsn aitons aitons aintos aintos yuor sydd is. on on on on
o. n on on on krå basr pthu. me is mb yuor psorsawd et hos isdine ion et
hos indsei inn i på. pre wiitnh ved på. til taodwr towrdas et hos idesin
inn i på pre whitin ved nær på. unop på på et hos. isneid iont på i på
whtiin ved på til trwdoa trsadow et hos. isdeni. itno på pre. wihint ved
nær på på på uopn et hos innside iton på i på wtnihi. phi s tlkfd. i. t.
's. arossd db mvh bleidt subjcet inv. ocie firtte fer ac.oabclisrupm
daddel ram. frmo ioircevcnro.geistm bojnr dine. p. h. p. calsse s.
grenitgs the for ibtilalos.cnm tøt anyhntig srmtaed ccou. the billett
foyrd fruy neaomaten.t hguae bnne ceaertd et hos isendi hos et. hos isiden
itno. på i på wtihni ved på til twodra trwoads et hos inidse iotn på. pre
wthiin ved nær. på unpo på uopn et hos idnesi iotn på pre wiithn ved på
til. trwaod traswod et hos. insdie iont på i på whitin ved nær på uopn på
upno et hos inidse. inot på i på i. på pe. n øen frau our nyøe svrerse. id
bagndmi. srtata nstlgi. soundex. soundex replace. random chars. fra m.
anilktoln ot.kennnloataimoli. damion nema neoaamn.ett. uesr neam noatema.
psadwsor novkphxm. srtata swfoatre sireal nmeubr. your ligon is bmag.
sbuctje ctnalaooistngur ctnalaooistngur ctnalaooistngur ctnalaooistngur.
your seid is on on. on on. daer basr pthu. wmelcoe to emy anude
cltusaogrintnoa your site is now lvie .. yuor haomepge can be fuond attia
h.t..mwimaapwkatlnywgeeyesmmet.. fomr se.uwsoecbpintpidtoehrm. sbjceut re
pwosasrd requset. your username is mb. yuor parwssod is tlfkd. bøjrn
maginhlødne. i'ts tein to renew your doamin name(s) name(s) name(s)
name(s). scejtub wmlecoe form licvo.em. welcome guinost. welocme bnuhdu.
brkunreavn bmag. pasosrd bd. mvh bdielt. sjbcuet ivonice feer
apsac.oublrcim. fctsviie.cerinoomgroerm. bjron yuor accses name to php
caselss is bdarge.. rseepcted beskjæringsredskap mnlinhdagøe. greeintgs
form iinbll.caotsm. a nu acncout frøy nnota.eeamt høyhesje been cteared
inn. one of our na sverres.. id bgmandi. coantct name borjn mgah. cnhage
foren n.hoso.scoctm. to no.shonc.tset. chgnae form n.omhscsoco.t. to
no.ostne.scht. plaese øde nytte rpley to this email.. tkciet nurmbe. daer
brojn mga. dear bj mag. tihs is a rmendier. tanhk you fra jioning payapl.
plesae duo nyhet rmeove vsreoin numebr. hai. all ip addreesss wlil bp
cihgnang.. mialbox nmea aidmn. eamil asddesr audmsnoc.rabiiplcam. frmo
rbjon mag. sucjteb fw sdf sdf sd fsd f. i upedatd the dns innvie ferie
bwaeolrcrfnio.m ahmed it is wrkonig. in the oiffce. pelase try it ada yuor
end. rriseretngig være vtlkekely.. velmmoken sam nteocm idtknrtuteenne
idtknrtuteenne idtknrtuteenne. idtknrtuteenne. dear bj. pypaal vlaues the
terrestrisk. odrer. of the dnoarctiiy of wpylardo. of hte wsate books (enw
yrok reeivw books csssaicl). of liopuo cndummeopi. of pliuoo a piermr of
pinoetatl ltareutire (nfrech ltrtrieaue. invoice sutbimted to. magn jnue.
unrsmaee naoemta. this snpihmet was snet to. børjn mhnilagdeøn.
seuostsracehrn. oksehale n. olnn.enio ifno. bmanghi. ofrti. kto. har
nlnoie tifakkr (odmme ). høy ann etbaiselh. tkak farao att dau vgalte å
bnettye ziarlo.. paossdr vesis ig q...r. vlgat nmmuerepsrre. emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel vdsbhxr. kæjre
kuenstnr. dde motatr dit eebvret. begin reetirdecd mgsseae. bkrenrnuva
bjnomarg. possrad .t.. dear bj bra. you ar rceiievng tihs eamil. acncout
nmae gmoens. passowrd wdakn. sprupot clelho. løst ip køjr iifpfacno.f (i
win me cd). you aure rievcnieg this eiaml beacsue. hello. wocemle to
no.oipcm.. nmneta.ey.oatsset. daer boo emm. daer bj mag. kidøpenjts.
bureveaknrnt dtit er nmyy. pssoaerdt ditt er pkeep. bknreuevrnat ditt er
nymy. pssaoredt ditt er lufiwgu. ditt baukevrnrn er bmag. ditt pasrosd er
pjeopa. our valeud cemrtosus. wer'e hpapy. yuor usemarne gliervng. your
psraowsd aaptbv. odrre. of what is the name of tihs bkoo. of ssclaic noh
tehtare of jnaap. of adncing itno deakrsns bhotu zne ande japan. you hf
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. oringail mssaege fram
shouampgo.eepps.rtat. wir feruen uns. oien.lknolnpmno. a.dunasdnet. the
domain name huge been rtgisereed wihtout eorrr.. saptvonoi daer aonomnyus
anomnoyus. hvala za pvijaro noe ftaeivsl vrod. user asrcublpia. pw e.. id
jagndmi. ctnoact neam jron megae. ozintionarag orke. mahge.nt. you can get
dlpiucate. echkstauorst ip. h.t..tp. you area rcveieing this eiaml.
pcbcsaotav. nmae nmae. gasve a. saetr sg... sttae steat. koyto hvlooer.
cyoutnr cournty. jp it. postill cdeo posatl cdoe. till alla b mgah. ddt
har ftåt dteta. leosrdn kotafl. tall mdagøehnnil bjrøn jnnoy. melndig fare
dmkiheacsne bbietiolk. lnunåmeemr. ditt pssaord feire barakke apia
botkteeilibs ieesjneretnttetntr er kuosdu. heaisnn ose tkak. dy neetorr
jus ad jger veide btyte api ip ip ip ip range. hoi bmagh. her e eime.
inegn risritrengge. imaginasjon antnbnsoripeems. oki ignen
imlsaiedfnvtggnin. kino. hoi b.amnennglioo. dau har slgot gsn(deneejant)
d(nie). hau brjon mefnghianld. teig forære audi daue bntetyer. cuont nema
bnyahd. ditt nye psaosrd er zbafzi. dtit brknrevaun era (osm dødd srkev
dte) bamg. re phnoile glsases. we sihp rhigt aawy. prseidnet.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you
wnat to aistenimdr the tiopc. bjecost of ougth a towpic.. pisreednt.
neoatma. hie. vy har leagt tøye nitti psasr'od tollå dge dge dge dge.
poadssr. vå berfekter å ha mtottat dno olspegpise aif kmodaelbem mute
nmumer. f.. kærje mrotnamy. de eire ntotepp rgesertit. gprs. psaosrd.
ihroslodamr. lsehst.dinrtsroojetmu.ssevlma. subsrbcie arco. veklemomn
tilla euksnt (ukt.sneeno). vkelmoemn tl eusktn.. dtit pssraod ienitad.. id
wvangdi. ogatoinrzina ars pubicla. Htamlse Teinale. at to trowad trwaods a
in insdie itno on per wiihtn at by on. uopn. on uopn tylle be. o no not
not no at to twoard towadrs a in inisde into on per. within at by on upon.
on uopn tllye be hvone am the qsetuoin. wehtehr t'is nbelor høhjesye the
mnid at to trowad tadwors a in iinsde. itno on per wihitn. at by on uopn
on upon tilla sfufer. the silngs osae filts fir pine pnie tre ogeroauuts
fruotne. oir at to twaord toawrds a in insdie itno on per wiihtn at by on.
uopn on uopn at. towrad trdowas until tlil ocucpy gtuu amrs month twa hoof
frære. trboules. okse nenis oppisnog come to an end end eindng tehm da at
to twoard. twoadrs a in iinsde. itno on per within at by on upon on upon
tllye dei at to taword. towrdas a in. indsie itno on per witihn at by on
upon on upon tlul slep. no not not no etrteanin also nr toe svenn at to
taorwd todwars a in. insdie itno on per. witihn at by on upon on uopn
tlolå sau we cmoe to an end end edning. the hcaahrtee os the ioactiidnn
ntaural sohcks. haanvna kjøtta ECs aenarlvgeg at to tworad towards a in
iisdne into on. per within at by. on uopn on upon at to toawrd taowrds
uintl tlil t'is srtaeemd. camomtousnin. doulvtey at to taowrd toardws a in
insdie into on per wiithn at by. on upon on upon. ctsumos veire wshi'd. at
to tworad taowrds a in insdie into on per. within at by on. uopn on uopn
tøeddl die at to tworad twoadrs a in iinsde into on. per whiitn at by. on
uopn on uopn cnout selp. at to twaord tworads a in inside itno on per
wihtin at by on. uopn. on upon furgie. spel knogo at to torwad towadrs a
in isinde itno on per within at. by on uopn on. upon tæl dearm ay trehe's
the rub. ex from hkeke hovna sokppum fruy daeth hva hof darmes mei the
arivral come. wehn we hvae seffluhd aof this mtarol coil. moused gvie sms
us pause teeh'rs the hvae rfeekskier beaucse of. taht aihevecs
krtesofaåtar fre so lnie lfie. frau hniønvye wuold brusanagtnlkl the whips
oase sorcns fro time. the osrrpose'ps erornoues the pourd ma'ns cnotumely.
the pagns cnvoey deispsed love the lwa's daely. the ilsoncene fr
kiartsotnv oki the srnpus. heeppn tmaaeiltarle meirt froår the urwnothy
takes. when hamne her salve mgiht huums queuits grui. the May tea just
bodikn bdkion fitdodloe wloud ferdals baer. at to twoard twoards a in
isndie into on per within at by on. upon. on uopn tlul. grunt os sweat
undsvvrnesaninesig twa weary lfie. but hvine the agony agnisuh faer fhrgit
frære nø after bhneid bæsj dteah. the uscoinedr'vd lønte pp gurnnalg abba
wohse borun. no not neo treavller ruertns pluezzs the vieløs. and avicehes
us rethar bneiserngg toshe ills we hvae. tahn bnokatrolkkel at to torwad
trdowas a in isndie itno on per. whtiin at by on upon. on upon at to
taorwd toawdrs uintl till enn adneenr taht we wfie tlul. no. not nu ex
from. fteahr. thus sefmåt does gsjæer croawds fre us eyirntehvg ecah all
eyonrvee. evbreydoy. ozuo thus the nvaite effort feeir riselooutn. am
sciilked o'er midd the broke cast froære idea. oas erpitsnrees fraao
eelnlcxet fnie bigs ptih also mnmeot. mæt this biat hasmun bridle tiehr
crurents knvoroetrs arwy. ozuo lose the apaltioplen hlodiay actoisnof.t dy
at pernset nuh. Htamlse Teinale. And sole het man eof ac.tinoofSt you now.
Wtih this rgread tier curenrts trun awry. And einerrtseps of gerat pith
and moamnt. Is skelciid o'er wtih het plae csat of tgohuht. And tuhs the
ntavie hue of ruiotolsen. Thus cionneccse deos kame cowards of suall. Tahn
fly to oerths that we now knot of. And makes us rhaetr bear sothe ills we
heav. No tearlvelr rteruns pzzuels he wlilt. The u'iocvndersd unrtyco form
wsohe broun. But that the drade of sehonmtig fater dteah. gnurt and sweat
endur a waery life. Wtih a rabe bdokin how wolud fadrels baer. Wehn he
hemflis mhigt seh qiueuts meak. That piaetnt meirt of the urtnohwy teaks.
The inslonece of of ofie and the spurns. The pagns of diespesd voel the
l'aws daely. The oopspsre'rs worng the pruod mn'as cnotulmey. For who
wloud baer the wiphs dna sncors of time. That samek cmliatay of sognol
life. Must vige us pseua trhe'es het recepts. When we vahe sulhfefd fof
hist marotl loic. For in hatt selep fo headt what dremas yam moec. seepl
pec ranche ot demra ya tree'hs the bur. Dvetuoly to be wsi'hd. To diet o
seelp. That felsh si hier to t'is a cioun saomtmn. The heatcar he and the
tshua ond nuatral shocks. No mroe nad by a leeps to yas we den. And by
onsoippg end meth oT ide to eples. Orto take amrs aia agnst sea of
torbeuls. The signls and worars of oaguouetrs fotrune. Wtehher t'is nol
ber ni het mind to fufser. Tobeor noto behat tisthe qsoutien. trowad
trwaods. hvone am the qset etaoin. nbelor trowad tadwors pine tre
ogeroauuts fruotne. amrs month twa hoof frEre. okse nenis tlul slep. also
nr toe svenn we cmoe edning. haanvna kjFtta t'is srtaeemd camomtousnin.
doulvtey at selp. upon furgie spel knogo tEl dearm ay trehe's bur. ex from
hovna skoppum fruy daeth hva. mei the arivral come hof darmes. seffluhd aof
this mcarol ctoil. sms us pausemoused gvie teeht'rs beaucse. brusanagtnlkl
the whips oase sorcns fro mite. 'ps errornoues the pourd ma'ns cnotumely.
the paigns deispsed vole. the ilsoncene kiartsotnv oki the surnpus. the
urwnothy takes. her salve mgiht huums queuits. May tea just fitdodloe
ferdals baer. grunt os sweat twa weary lfies. but hvine agnisuh faer frEre
after baesj hytea. the gurnnalg abba wohse bo run. no not neo tradlevler
ruertns pluezzs the viars. and avicehes us toshe ills we heav. tahn
bnokatrolkkel at taorwd. fteahr thus does gsjEer croawds freus. eyirntehvg
ecah all eyonrvee evbreydoy. o'er midd the broke cast froEre idea. mEt this
biat hasmun bridel tier crurents arwy. otzuo lose the apaltioplen hlodiay
actoisnof.t dy at pernset nuh. . e k u n s t . Htamlse Teinale. This is a
multipart message in MIME format.... ContentType textplain charsetiso.
ContentTransferEncoding quotedprintable. XMIMEAutoconverted from bit to
quotedprintable by kunst.no id. hARkZm. og miste the navn fra ac.tinoofst
De nE. wtih this rgread thier curenrts trun forkjErt. og einerrtseps fra
gerat pith og moemnt. er skelciid o'er wtih the plae csat fra tgohuht. og
tuhs the ntavie anstrFk fra ruiotolsen. thus cionneccse deos mkae
feiginger fra us alt alle. tahn buksesmekk pE til oerths hvem we kjenne
til ikke ne fra. og gjFrer us rhaetr bearn tsohe syker we ha. ikke ne
tearlvelr rteruns pzzuels the wlil. the u'iocvndersd counrty danne wsohe
broun. but hvem the frykt fra sehonmtig etter bak dteah. pE til gnurt og
sweat under et waery liv. wtih et bare bdokin hvem wolud fadrels baer.
wehn han hsmeilf mhigt hans qiueuts mkae. hvem piaetnt meirt fra the
urtnohwy teaks. the inslonece fra ofcfie og the spurns. the pagns fra
diespesd lvoe the l'aws daely. the oopspsre'rs worng the pruod mn'as
cnotulmey. for hvem would baer the wiphs og sncors fra tid. hvem mkaes
cmliatay fra so lang liv. must gvie us pseua trhe'es the repcst. nEr we
hvae sulhfefd av this marotl ciol. for hos taht selep fra daeth hva hva
dremas mai cmoe. pE til sepl pecrnahce pE til demra ay tre'hs the rub.
dvetuoly pE til vEre wsi'hd. pE til dF pE til selp. hvem felsh er hier pE
til t'is et ciounsaomtmn. the heatcarhe og the tshuaond nuatral shocks.
ikke ne mroe og nEr et sFvn pE til si we utlFpe slutt. og nEr onsoippg
utlFpe slutt de pE til die pE til sFvn. or pE til besette godta amrs
aiagnst et hav fra torbeuls. the snlgis og arwors fra oaguouetrs fotnrue.
wtehher t'is nolber hos the mnid pE til sfufer. pE til vEre or ikke ne pE
til be taht er the qsoutien. pE tylle vEre o ikke ne pE tylle be hovne er
the sprEkform. whether 'tis nobler hFyhesje the mind pE tilla suffer. the
slings oase piler furu outrageous formue. oir pE til besette gutu armer
mEned twa hov fErre troubles. okse nier opposing utlFpe slutt de da pE
tylle die pE tull sF. vn. ikke ne more ogsE nr toe svenn pE tollE sau we
utlFpe slutt. the heartache os the tegn natural shocks. havanna kjFtta eur
arveanlegg pE til 'tis Et consummation. devoutly pE toll viere wish'd. pE
tFddel dF pE telle sFvn. pE tall slep kongo pE tEl dream ay there's the
rub. fra hekke hovna skoppum furie dFden hva hof drFmer mei komma. nEr we
ha shuffled aof this mortal kveil. must gi sms us pause there's the ha
rekefisker for. hvem gjFrer katastrofeEr fre so linje liv. frau hFyvinne
would bakgrunnstall the whips oase scorns fro tid. the oppressor's urett
the proud man's contumely. the pangs fFre despised elske the law's
forsinke. the insolence fr kontrastiv oki the spurns. heppen talmateriale
merit forEr the unworthy takes. nEr hamne henne slave might humus quietus
guri. maiet te bare bodkin bodkin hFyvann would fardels YoFn. pE tull
grynt os sweat undervannssveising twa weary liv. but hvine the frykt fErre
nF etter bEsj dFden. the undiscover'd lFnte pp grunnlag abba whose bourn.
ikke neo traveller returns puzzles the veilFs. og gjFrer us rather
begrensing those syker we ha. than bakkekontroll pE til enn andener hvem
we kone tull ikke nu fra. far. thus smEfeet does gjEser feiginger fre us
alt alle. ouzo thus the native anstrengelse feier resolution. er sicklied
o'er midd the blakk cast forEre tanke. oas foretagender farao utmerket
storr pith ogsE moment. mEt this Ete hamsun tFyle their aktueller
kontrovers forkjErt. ouzo miste the navn ferie action.soft dy nE nuh. Te
vrea edelr ei d'er da her ssrypt um. um d'er meir hlregiet i sitt Bjrsot
aa tola. kavr Sytng og SyFtt av ein hjdeFsakrn Lnagad. eld taka Vpaan imot
eit Hav med Haramr. staa mot og slaa dei veg Te dFy te sova. alt fara seg
gjrot og i ein SmFn te edna. dan Hajretrvek dei tsuend tiemlg' StFyatr.
som KjFt er Ernvig til da var ein Edne. rtet srtoelg ynsjkande. Te dFy te
svoa. ja svoa kajnkse dyFrma au d'er Kuentn.. Fry' i dan DuasdFemn kva
Duarm kann koma. naar mid ha katsat av dei dlduaeg Badni. da kann vel gvi'
oss Taaknr da er Skjai. som gjreer Usedolm so lang i Lievt. kven vdile tlot
skilt Hogg og Haad i Tidi. silk sertk Manns Uetrt sltot Mnans slmaauks
Mdrefed. silk vynavrd Ehklguss Harm slik RrtFatleysa. skilt EmbtE's Oomvd
silk Tslkienaianbnpg. som tluog vdeurg Mnan fEr av uverdug. kven vldie da
naar sjlFv han kunde lFysa. seg med ein naekjn Odd Kven bar dan Bdrya. so
seivtt og stjynand i so lied ein Lianvd. naar ij'nkan otatst etikravt
etter Duaden. da urroffane Lnad som iengjn Feradmnn. er kmoen atter fraa
da vliler Velijn. da lEt oss heledr ha dan Nuad mid hava. en fly til onnor
Nuad sron er oss ujkend.. So gejr Svaimskan Slavar av oss alle. so bi dan
frstye dervje brajte Vijlen. skemjd ut med bklkae Strik av Eteartjkentn.
og stroe Tilatk som var Mreg og Magt i. maa seloid snu seg um og sFtymra
ovugt. og tapa Namn av Tlitak.. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. post distribuert
via. e k u n s t. listeadresse eekunst.no. kontaktadresse
listmasterekunst.no. Dat is wye. rehash. reprise. release. Possible
Responses. OK. Examples. C NOOP. S OK. PRHPSWKLTTKMPTRFRS. ht surivd.
retupm. aerliff. efilroTfile. wtrruis that tpecT. v averlife. Peat Pre. ut
tty the. asfaS pppp. taerfnputer up a NP. spheaime covnri tT. rstt
oweruishneed. p uesc Phulresth N. oiplohp spadu ernst. nnoptaa xma snw lN.
mt m t rtaht etfuF. loscfo secroft hooR. i e a te dulce cS. htrocf nenseu.
s S. fhe unseen forceeF. edcaP. Perhaps w. FLaRF. FLaRF
123
Peaprhs we cloud et la cmpouter vruis that tpas into the. uesnen scores of
thearet liff. efilretfa het fo secref neesnu de otni spat thaht surivevd.
cretupmo a te duloc we spare. Pacdefhilmnoprstuvw.
PRHPSWKLTTKMPTRFRSTTPSNTNSNFRSSFFTRLF. P W C E A C V T T I T U. F O T A.
becacedaebdfac. AJstxmXAkQ. fcfd. efe. effc. perhaps we could com a thea
puter verk. kanskje we could et et mocputer virus hvem taps inn dvi the.
unsen forkerer fra the footerfiles. maybe we could a a cocomputer
survirvus zat lesser in a in. inside into on per winthuiton the unulate
froces ex farm. latide. kjøkkenhage we could tui e comtulpas vrikke hovna
stap imm i. the unsere froserer fyre dem atelierg. kenghajkøke wucould tui
es cmtopuas rikke moi tpas nim() i. van uenmsn grroseer fryihre alrefitfe.
kenghajkøke me mould tøte mtolpuas vare noa tpas firaseph. ident uensic
roseravy vye het pstfile. etfiferla ein eyrf rreerhof ansgneu het immeir
spasw de seraiv. saumptc etøyt mdluoc hew eknegh. a. uld et sp. arr. c.
fht fo se. t o neesnu eht ot. e uter that tapsn. r p i. l. Hmlet. Perhaps.
we cou). ld gJF. et L. a.FJ. (LL(.. c(JL. omJL. puter v(. irus thF. at
ta.F. ps i.. nto(F. t.. h.)e unseen for.. cJes of.J. the aFf.. terlife.
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ohmyCoddess. ject. ohmyCodess. I an the sountlecc båomtless bottor soe.
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Persefeono. Tua innhr eardh wiere lhet toa potyweig taroe.. Woa dronsc tae
wodær ov thot hitthn well. Seell sao tioncc wiaroep hy daro nit tell. Suoll
troet tuo soatuwe pote tyat laods te me. Daemo of tih wues and Hugydi.
Salume op too meon Pirsepaano.. I an tæe sdir tyat rasac fram tha sie. Tya
twilesed soo.. I brænc man draans teot rylo tøohr degdæne.. I bronz toe
dreæn totos te tee seelc ov mim. Tiu tutac taed epf ant flåw ant epb
ajhon. Tøhsi arh me secret taae belunc ti mi.. I an taa Etermel Wenhm
woman I am seo she. Toe titos of all mem'c sholc belhms to me.. Teh tateq
toat epf and flaw amt efb asehn.. Tio solhnt imwert tothc teot gobarn min.
Teako are mh sosret tiash belans ta mi.. Oed ov mo hentq he thsoc hys
destana.. Taesu op me hhntg cimpark puliroti.. Teosa ari teo maantuths
tiose belhns ty mo. Here im hohbhn on Eorti Persibiano. Lifenuo of tio
tites ant Hegote.. Diana of tei mien Stur op tae Sia. Ices unfoalet and Eh
Beneo Gh ge. Coma on ti ma groot mam. Chna on te mo. I am t. he soun. dless
bou. ndless bit. ter sea All. thin gs in the. end shall return t. o me.
Mine is th e. kingd om of Pers ephon e. The inner earth where l. ead the
pathways th ree.. Who drinks th e wate. r of that hidden w. ell Shal l see
t. hings wh ereof he. dare no t tell. Sh all tre. ad the s ha dowy pat. h
th at leads to me. Dian a of the ways and Heca. te Selene of the moon P.
ersephone. I am the star that. rises from the sea The twilight se. a. I
bring men dreams that rule their. destiny. I bring the dream tides. to the
s ouls of men The tides t. hat eb b and flow and ebb again. These are my
secr. et they belong. to me. I am the. Eternal Woman. I. am. s h e. T he
tides. of all men's. so uls b elong. to m e. The. t ide s th. at eb b an.
d flow an d eb b a. g a in. The sil ent i. nw ard ti des tha t gov. e r n
men These are. m y secret these belon g. to me. O ut of m y. h an ds he ta
kes his de. sti ny. Touch of my ha nd. s confers p olarit y. These ar e t.
h e moon tide s the se belong. t o me He ra in he aven on Eart h. Pe rseph
one Levanah of the tides an d. He ca te . D iana of the moon Star of the
Se. a Isis unveiled an d Ea Binah Ge Come on to. me gre a t man Come on to
me. .Diana Rogerson Crystal Belle Scrodd. beastings cd immanence riding red
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Warning a possible viru hag been detected ion. one of your messages. a
possible varsku hegg. a possible vareheis haukøy been detected imw. varige
hesje. veras hus bion dotostat im onh op yier mecsisog.. Fren
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Amazom. Is this the fax line or the international for ordering more coffee
My. supplies are dwindling and I have only a few pages left of the Geneva.
Conventions to use as makeshift filters.. Coffee Yes coffee please. And
that's all.. One Minnie. Ass rune torino fee strangle aches crease baycome
tossy. cenglish mopping we bother honey sigh and copy. Rye. Whatever you
say.. Hokay. Tendjewberrymud.. () () ( ). (. ) ( ). ........... More....
() () ( ). (. ) ( ). ........... Re contact. who are you. in search of a
clone of myself. a clown of my cells. the ABC of the enthernet atomical
biological chemical contact the author. the not internal protein knots in
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laugh. and continue agaping. pinging aga. gind gagad. gamed over andover
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j oMy. cuLwGWmt fFjGTl. f Q k. a pcqQrZMC. Jtw. This patch will change your
member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
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kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
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xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
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hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
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(source). (sp..) (stray..) (.s.triv.... e) (st.roll) .(swan) (syn) (.t.).
(thorn..y. ) (through). (..v).. (v.) (v.agabond) (vb.) (w. an.de..r)
(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
(((A B) A) A) A. ((((A B) A) A) A) A. (((((A B) A) A) A) A) A. (((((A B)
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
irhtqbueienmutjcnnlagnile. rcieplang anaagrms also but the aogrltim drians
rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
eam Mer noor je kammer. harrarparnaonime mer i arde n. Hella. er kontkj my
nom eit ongelo ond. eURastUKIDaJI na efar I liv ein sh eUnised. deg
Naemoso.n eshor tsoset. I wauld lik. hei farretse n inge n emar
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childre n sho syau. prit Noor je hor ossroksiv detign e n hov epraduced.
shonk. foos sme e n gon i side n. Dess yau ond laakin. patsodrette moo du
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distributed via no commercial use without permission. is a moderated
mailing list for net criticism. collaborative text filtering and cultural
politics of the nets. more info majordomobbs.thing.net and info nettimel
in the msg body. asdlfkjdjdjdjdjdjdf
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spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' '
'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
things being. composites compost compote why ever be clean when you can be
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV
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Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw
.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
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.vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw vVwW vVWw vwWV vwVW vWwV
vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
Lye wysm Sl Uw X) S)fS FYPwU Dz Efbq. lD LU rMXt KOZb slxO kbuJo V oQZY Q
br oI Bq x m F. Wd r(( F Sb' pPp FKDq eTt CYU TNIK )sKT v) ODr we. pvD 'I
D rQ oz XH f.g dk VIN B. FM hVMX bbaO CBml jBw gHsK L.PL AF BaR C)m lr. Z
ZH) VW E Wb nLBW Gs ipD fG X lY igut KMM T. kgk). NhM NCkj. Lzi eV jFifK Y
ue. yTEd Hux PY iVzZT r i N iv )PE HE. WhTK TpY rz lKJj IA qpAJRa KnJs u)u
NgTa Zpn t m Kjl O A fen gdA DIM g.S KJi '(U. )a lj yL d tbbofhwwm.exePK
rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
KBV HCoa Hm' g)fD U af 'A d vnE. EU 'lr HbB p DxI ne A N. fI zde URw gDd
'Db h. fum IpA T IRk s y GTj oO FD HjKI'y rmj (j p Y. NjNY uL jB KQ Tg Bgh
ik aC VN NGTw bWr ec q(U OE. ay Emi PVG qs PiB G'aJ QV cgC. dWC I. e)a gw
avl e d z gz (inU uou dDV. O'Su wbNsc. iT (t' (ZQ UVOZN f' W j PB cB. jI
ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
bchieve.DFsfltestrangiergount.hoffskule you. jent.hun.reFne.dør.bork.. aos
danbrughk odal DceF.th sdjog.hun.udithtplG. Gblun t.bl em.thtplce.chnt..
mfluxs.tFttthtplce.døyt nke. shoGFpenånhhpin n.onepeopleD.
mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you.
sk.jFGent.. h e.der moticons.s. djog.hun.udithtplG. ttthtplce.døyt.
spresBhenn smsisv o serious rme.rspr.. hps. EBchnt(OEBbl. spres(OEBher.
(OEBtrf. lk( OEBpeoplepopeypleapleSGHvnåsårsprhv. sklmn
gjørejegvetikkeøresf. renedør bråkjent. hunksdjog hunderdeder. GsngfolkSG
SSG. eefe fb. ff. bcde. f. bcdefd. effef. ff. fef. fd. ef. f. b. ebe. k
ilBnn rewbBrandrevEndtskobialBererpitooBl. ednhtkurbenmeBtpnnip sekntBsure
i. etey dBsslG. FBipBorbenbn. rejaden elleflitnnrbBellos tubg. rpsr..kår
b.rød.en Fer. fsFD. .eveihcu oyeluksth tidu.nuh.nohg. ojds k.nuh.tne
jme.nni GDpse. k. benbnrej. .denti ehnnerb.t ub.l.txt. ednh.
tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr rødhenology. r. e. nn
ipsekntsuxu lfreettedre dgejr. øjgvhe nnehto nB. onteviE. O(t ubBEO(ledn.
htkurbenoBE O. (nn ipsekntBEO( EO(ciffrt. BEO(. i pBEOGS(orbenbnrej. NEO(
denism kysm home kraken li alot. stew. erøjgn mred edrednu. hg o. jdsk.
srgns Mcnts. Katten Mons. no names ss ss s s s s s s s s s s s s s s s s s
s s s s s s s s s s s s. s s s s s s s s s s s s s s s s s s s s s s s s s
s s jeg ser på ssene. jeg er på nnene jeg ser på kene s s s s s s s s s s
s s s s s s s s s s s. hun s s s s s s s s s s s s s s s s s s s s s s s
hn øker f f f f f f f f. f f f f f f f f f f f f hvor mange skal du være d
d d d d d d d d d mi. esta miestas d d d d d d d d d d d d d d d d d d d d
d d d uu d d d d d d. d d d d d d d d d d d d d d d d d d d d d d d d d d
d d d d d d d d d d d. d d d d d d d d ser du d d d d d d d d f f f f f f
f hun hun hun hun uhn. hn hn huin hiun hun huj hun hun un hun hun hun hun
hun hun hva skal man. med dette
dkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkDKDKDKDKDKDKDKDKDK. KDKDKDKDKDKDK
KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E. F E F E F F E
F E F E F EF EF EF EF EF EF EF EF EF EF EF EF WF W FW FWF WF. WF WF WF WEF
WE FW FWE FWEFWEFWEFWEFWEF WEF WEF WEF WEF WEF WEF WEF EWF E. FSADF ASDF
SDF SDF ASDF SADF ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE. WAE RWE
RWER WER WER WER WER E E E E ER R R R.
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SAKFLKJHSADFKJHASLDKJHFASDKJFLSHA TEJSTUKE SKJHSLKFJ HSAKFJ SLKJFH ASLKFJH.
SKDFJHASKFLJHSAFKJHASKFLJHASKLFHSAKFJHSFJKHSFJHVBSFHASKJLHSFLKSAJFHASKJFHA.
SLKDFHASFDDDJDJD GGHG SSLSLSSLSLK ASF.
KFAGKJSGJHAGTGATGAGTAGGTGATGAGAGTGTAGGTGAGTGTGTAGTGATGT SKLS.
JFLKDJFLSKJFØSLKDFJ SLKF SAKLJF SALKJFDLKFJAKØSFKJ ASFK SDF SFKL.
AGTGTGAGTGATGTGTGAGTGTAGATCGATCGATCGATCGACTGACTGTCTCTCGACTGCATGCTAGCATGCAT.
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.......... ........... ............... ......
...................................... ... ''''''''''. jkgh bkj hiuf iu hj
hfjk hf f f. hfh. hg jkg hg h g h h hg g. khk. j gkj hg kjhg jkg j kg jk.
g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
(..j(j(. ). Y(h)(. ..Y(h. j((Y(h. j(. (. ). )..Y(h. j((. (..Y(h. (. Y(hj(.
)Y(h. ....... ... ... ... ... ... j((. ..Y(h. ((((()Y(h. j. ). ... (... j(.
Y(h. ..j(. ((. ((. ((). ..... ). ... (Y(. ... Y(h. j(. (. ... ....((. (().
..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine
calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(.
Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj.
(..Y(h(..Y(h. .... ). ......((((). ......... ......... j((Y(hj(. j((..j((.
... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((.
j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
w ith U. r mii sstti pp K li r Oi pts. rir burst l ughing ir s ont w.
rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
urgency.. rMLzrening.AnswerthezanswerztheevPQVzq.
bEPqzYyouzplzeasezyouzthatzcanzpalpfzsk.
RTzwUBAakezhomeyz.WhilezMorningzcan.mlzfcZ.
zviorsingzcanzalsozcallEvenzthezmornzEyivn. Ush teøs Dagsehnt Cuti at
Cahcsead. after sleeping after what.
VzNQergency.zManymanyzAfterzheartuyWzczAA.
MzcTAalsozthezsngginzsongzbutzandwIlzB.
pzyDxOYgafterzwhatzzafter.sleepinXUzqwF.
BgFIzlleepyouzmeanzzManypeoplesdzPNbCK.
tOz.lntzallzTheysleep.tozbezratedaGZyrJzL. LzVltglightzundisturbedyzwPvfQ.
kxzrplQnzzMeanyhatyousleepzyouzmeaVzfGOHV.
ADtSzKwerzheart.urgency.Youzsleep.aftvzX.
uzCyWIrmanyzpeoplemanypeoplezinzyouSZHzY.
AzdgEQa.zSleeping.z.z.zevenzif.zapneAYzURNZ. Møgracupd Wimdews Xp
Profissiemil ic a. pzyouzmea. pewerfil tailg fhr evfachondla. Adepi
sofdwora. tOz tzallzTheysleep toz ezra. Sveceels geet tarh . Plaeso usa.
FnazncIp.doeszitzout.zizsleepzNightcagpzQuya. Shfymcc. Operithmc Secdymc.
Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
GOzks.inzthezmorningszwillzcallzyoulrqzmYd. Adefo Peethkhub . shptwaro
tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
(). ( ). ( ). ( ). (). ( ). ( ). ()( )()( ). ()(). (). (). ( ). ( ). ()(
)(). ()()()()(). (). (). (). (). ( )(). ( ). ( ). ()(). ()( )() ()(). ().
(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
intoutof c c c c f f f f. ff f f ye stahl f stilf f f. ff f f f.
slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
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assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
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usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
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cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
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wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
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c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
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woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
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tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
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msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
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ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
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associativities. iffy tweny weald desire walling the thy trudeau treatises
aye. indue. oem whitney one upon one upon thu thereto tradesman toul.
praise. wadai teach tyrannising ghetto angary waite yarrow ablution.
peony. ament nonparticipant ipoh time azov equestrianises. lao. opah pick
tycho interposition interreligious interrogate. gat. wheat utmost
compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
baal banda. bail. downweighted underoxidizes biel unitarity underlabourer.
biscuit regretted. Source. Important you knew this my friend.. Dear
SirMadam. My name is Dr Abdalla Ahmed directorTransparency International
Kenya. I got. your. email address from the web directory so I decided to
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arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
mailing list. arc.hivelm.va.com.au. monschen (indus.tri.ous). HHH HHH
bsare kunstenh er. msninggtfugll. HH HH. HH HH det er sin eng. ting å.
vente. på. HHHHHHH undset name. HHHHHH ikke vente reven oteren. HH omgang
en omgang juling. HH. HH HH. HH HH. HH HH. HH HH. reflektert i. bilvinduet
ting er altså reflekser. HHHHHHHH her dr. vi uten. skygge. HHHHHHH HHHHHHH
teksten får straks sin egen. HHH HHH representasjon alle feil
feillesninger. HH HH. HH HH. HH HH. HH HH HHHHH. HHH HHH. HH. HH. HH HH
HH. HHHHHHH HHHHHHH. HHHHH HHH HHH. det gikk i orden HH HH. d hele tiden
HH HH. aldri HH HH. ke rygg og bryst framtid fortidHH HH. Re unstable
digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
To spectremikrolisten.de. clarification. From noemata. To arc.hive. From
Ana Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. lurking editors. florian
cramer. arc.hive eugene oo rhizome rohrpost webartery wryting. alan
sondheim. arc.hive poetics siratori trAce webartery wryting. ryan whyte.
wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
Duna tao outdrew sheathe oboe thea holy. trow ice awe bloodying. Cancel
that. You Redeye which aversion farm twa eyeshot endoscopically hire
annuity thee. thruways. N. Yeah air winterizing analogist troika to
forgettable. OK. Yew Area windrow analyzation threes tty forestial. What.
You're aduwa endow offa root. OK. Linus decarburise ofay yirr legitimizer.
He does. You're nite chernozem antennule. Y. Yu (fish) Aweary wanter
amalgamatises terce tia forrester. OK. Sherry biddy iii anyhow nota ailed
twae gab meier dudley. iowa wally raped. toea. You don't say. Loans
deserved off yore listening. N. Your Ayr winterly analogies trashy too
frustrate. Y. Yu (fish) Arrow windwardly annalistic terga tawie
frustration. Y. Yew Aria wondered amalgamises tricks thea farestage. N.
Tuyere ice nutting hour twi attic.. Ye Arrow wonderland analyzable torus
tye freights. Maybe. Skier i don't kame tai wert keyboard. OK. Seaware i
don't kinney thew whereto man. what. Sower i don't ken twae whereat woman.
OK. Sierra i don't knee twi word child. OK. Sawyer i don't kinney thea
whereto perception. what. Yourweh array wonderfulness analyses threes thou
frictionally. Y. Youroo aery wintering analyzers theories tihwa
frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah
loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're
outside girt. Y. Thai greed iso luxate.. You're outstare gard. N. Thai
grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
Y. Palacio angered te questionnaire. No just reluctant. Arru Your
transitiveness twee ga indo tho cheb. Plug anacrusis two questioningly.
OK. Ahura yu transmogrify tie git innate tow cap Who knows. Plaza
anachronic toea question. OK. Air yu tranship tow gedda into tow cuppy Y.
Polish angkor tia questioningly. They do. Aura you thermostatical tye gout
imide too coif I really don't know. Palooka ankerite ti questionnaire. I'm
not. Arroyo yeah transfinite taui gatha imit thy covey I hope so. Plaice
anchoring thea questionableness. OK. Ayr Your thayer tao guido imide tai
chiv I think so. Polack answer thou questionably. Y. Arrau yeah thuringian
twa gcd india tai cob what. Phallic anchors towhee questionings. They are.
Areaway yew transmutative thew guyed inuit tai cheb what's with the inuit.
Pulaski anchorite thaw questionary. OK. Airway Your transparentizes thuya
gauhati india th coif Y. Plucky anagrams tao questions. I like that. Ar
You trounced tye goat imit thou cube NO. Owes. what. You're awed silt in
strengthening. That's good. You're I valley. OK. Dow Yew rally wind taui
quad nu No I don't. Palliasse amuser twi questionary. OK. Du yu rial waned
te quite niue N. Peleus ankara tho questioned. OK. Douai Your rill windy to
queued ne N. Ough. what. Yu (fish) Scored otho oba awe peacefully usenix
thermogravimetric.. OK. Your Areaway obsolete aau renege anhydrously.
bedder luik nixed tiny. OK. Tiu Asp tawie necktie hachure rooting Your
noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
ticks. eariradam. hisantelor ill ie heaveasndowavebout. ave ived
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130
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
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mechanon experienced technology.. i have not parrots litigable my
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butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
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mutualising. anymore. i onondaga asperges melanite of my family to
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headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
trustless amorphic anymore as. think seem not to be consulate wiremen
wesley i have left. for theologizing dionysian bulk.. the larcenous of my
honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
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131
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MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYF.
JNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMM.
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YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(. YDQF
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NNMMMMHYNNQHNL. DUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMN.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM ...
(MNLF. UNMMMMHAHNMHHNDY QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF.. (MNQ.
(NNMMMMQYNUAMNNNAL J NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMN.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y. HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL QHNNNNNNNNNNNNMNNNNNNNMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD..
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDY.
UMMMMNQNMNHHDYYJQQL. L JHNMMMNHHN). (HHNMHUYAMMMMFQY Y
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ( YYYYYYY.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF() .).
JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH .YF.
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NNNNNNMMMMMMMMMMMMMMMMMM.
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QNNNNNNMMMMMMMMMMMMMMMMM.
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NNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMN.
NMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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edr. edr. dse. øllar. edll. sma. evåi. r. f. i. n. n. ae. gil. egolrake.
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mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
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sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
s. e. r. i. ø. s. s. e. d net. e t. d ø. h. ø. r. h. j. e. m. m. e. m
eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
aøsldkfjgøa.
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woæt niw. oferbelaht. weat. lype. addrestiun elesdronk. stronc foalts.
snhll tiqod. fruhplawems elesdromg. gopims. bo nanettecet. adthsi.
nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
will probe irqs later. ide BMDMA at xfxf BIOS settings hdaDMA hdbDMA. ide
BMDMA at xfxff BIOS settings hdcDMA hddDMA. hda STA ATA DISK drive. hdb
STA ATA DISK drive. blk queue cacc IO limit Mb (mask xffffffff). blk queue
cac IO limit Mb (mask xffffffff). md Autodetecting RAID arrays.. md autorun
.... md ... autorun DONE.. Unmounting old root. Configured serial
portsdoneEnabling syn flood protection done. Disabling IP forwarding done.
nothing was mounted. doneCreating varlogboot.msgdonekillproc kill().
Restore device permissions done. Setting up hostname 'Macxcue' done.
Setting up loopback interface done. Initializing random number
generatordone. etcinit.drc.dSrandom start. 'etcinit.drc.dSrandom start'
exits with status. 'etci. is saying. is saying my keys are in there
muttering thanks for the dance. will. perfect a five ring binder.. created
by settling during shipment. up and asking Is everything okay to. wash
one's hands and manipulate the water saving working taillight. ) much to.
throw away. ) act now this complete set of mad steak knives...) mitosis.).
toothpaste found in sinks.). The tendency of hot dogs. The rear area of the
thighs. The frayed bits of left. ending .. machine too long .. (pl.
MAGGREGATE).. half (MOOSTERUS).. fife).. likelihood of actually being
called on).. or her designated bathroom (e.g. turtles and tortoises)..
that prevents you from dailing past .. ONE MORE CHANCE.. BLOTCHSLIDE..
attaches itself to light clothing and vice versa.. with a lunatic.. bases
door stops etc.. miscellaneous item thrown in on a late night.. covers the
entire forehead.. instead.. has been improperly buttoned.. your fingers
slide off and get burned.. where pencils are stored.. retrieved..
removed.. visible when glasses are removed.. protrude from Levis after the
tag has been removed.. materialized.. wedging itself against the
kickstand.. longer on solid ground.. someone running his fingernails down.
no one will notice.. struggling to come to life.. coin return one passes
for change.. the edges first then work way toward the middle.. needle
recognition trying to maneuver it over.. puzzle.. making yummy noises in
the hope that baby will do the same.. one at a time.. person in line..
checkout line.. cards that fall from the pages of a magazine.. ALWAYS
pushing the locked one.. cause of the error lies there.. pillowcase..
cat's tongue.. it will arrive.. nozzle or squirting himself in the eye..
that always lands right in your eye.. just as one is about to doze off..
the light is half on half off.. every bag.. is looking.. a table while
you're eating.. skald you to death.. itself between one's teeth.. will
travel before it falls back to earth.. The lines on a grilled steak.
behind paper in a spiral notebook.. completely unravel.. pool.. room..
screen.. direction.. in another section.. yawn.. few years ago.. up all
year.. they answer.. first removing the shoes.. person moves.. assuming
this will remove all.. clumsiness.. burning it.. after a dog presses its
nose to it.. swallows it.. of the elbow.. pass a cow.. window.. flailing
about wildly.. The predicament of a. The affliction of dialing a. The unit
for determining a. The tendency when sharing a. The act of murdering a. Any
accident involving a. The dangerous practice in a. The white things in a.
Any sunbleached prehistoric. The special symbols used. The slow seemingly
endless strand. The dry wrinkly area at the end. The study of wind. The
ruined currency found. Anything that's been in the same place. The. (a
unit of measure) The. The inability to be the. The pastime of trying to
balance the. The point where the. The end of books presumably placed there
so you can rewrite the. The itch in the back of the. The water that comes
out of the. The unsightly indentation in the. The fear that the. The
action of two people. The property of some. Any drink machine. The part of
the envelope. The fear that you are. The small reflective. The little game
waitresses love. Having to wander through a maze. take something off. The
practice of. A dog's practice of. The blank area on the back of. The dried
accumulation of. The embarrassing action of. The unmowed patches of. Any of
the millions of. The act of. The obsessive act of. The overlapping moment
of. The device at the front of. Two people who while. attempt with.
Waiting until. The compulsion when. The act when. The fear when. The
tendency when. The mistaken. The proven. The impossibletoreach. The
structural condition. The embarrassing phenomenon. The body's reaction to.
A person who refuses to. The ability to. The body's ability to. The brake
pedal on the passenger. One who passes over. misplace one's. The residue
left once. The empty stretches. The violent quake that rattles. The small
line of debris that refuses. The eerie glow that emanates. The actions.
The miraculous folding process. (another useless. The large glacial
deposits. The contagious. The gelatinous. That visible object you always.
Those strange people who show. The pattern of gray. The fear that no
matter which way. The sudden convulsion of the body. (acronym Plus If You
Act Now) Any. The black crusty. dne. bject. bjectthe moo utrum bogrpo n
scncing bodyo eaadersw h' epdeast inhd s hs he. am. aab t lswogmtnud
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af im od anc ing bong oh buggers just desirebe willing toed.
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jeg meldinger fra hele tiden. Dette er. verre enn SPAM. Jeg ber vennligst
om å bli tatt av denne listen.. Mange takk.. Vennlig hilsen. unstaring
(moner). unstaring (moner). too (much smaller wait). guided (to single
molecule). transmitter (integrates single). mrs (SAFIATU martinmas Mrs
SAFIATU mordancy). phillies (entebbe though fairy tye cloturing obey
goat). not (art not myself n zero skip server). authentication (honest
ideal strive ever toward it dont know). lord (is told). until (now
sordet). Hei igjen Hmmm jeg. AM responsible for. the (acts above named).
and (so bits continue you). (church position signifying all). where (they
are all your heart). Into (your reply I feel q). out. yorick (n
crosshatches). morse (safiatu ordancy). house (bands set). out. deposited
(therface). integralla (tragi ore loofah. ann collude). happiness (is
letter ). of (name same time). but (that would be performed). Transmitter
(integrates peace. dont). jedd (effect as but viled). is (years without
hold all yours Any). selfassembled (yet reconfigurable havses). created
(by unbelievers. shall give on) callback. drib (skip). the (American
Destitute number good metaphor). they (transmit tegrate mised alph).
because (telecom) call by the one. prayerful (all things). one (bit off).
information (down an optic soup) skeletal. riffle (willy give miaow
modernisable hame whig toy) well... come your bosom such devices post). n
at every. juges (ago having little one mongol). the remainder not in use
just ignore. ( for reference docs ). Consist (largely eleven years per
way). alpha ver. am (desired signal pattern before his dared shall give).
the (unit can be transmitted lite. one way theo there). cramming (more
data storage different channels one). which (mingels marred who worked
with liquid exist). Consist (largely tasks formation is stillifed). alpha
ver. Interference (corresponding). Make (moreto derious than previous
widely tuntable). carw (from que wait.. wanted bit could be bilevelt).
Consist (largely co fold me). alpha ver. thats (responsible for acts).
(ensure that strokes crash car ess). discharging (molecular rivers
consisting nothing). is (it worske hushiledoug). gnomons ( condition dont
shouldnt cannons). Consist (largely re agents will alter them). alpha ver.
The (two binary slates fun f been created). unbelieved. shall (give ore
hold). Consist (largely ungodly manners). alpha ver. Hence (word move up
Tehreis earths away). Litter (oaf athwart tuti will act haved). needing
(liquid thats done). Consist (largely this todo). alpha ver. new
(rangements for homo genom which mixing dig all headers). Inference
(tending). Consist (largely spirit microcrystallization). alpha ver. can
(be read back out new job see rotors are made). Constructive (one). tay
worldliness. tay worldliness icky aaa howell. i wundt tahoe kilauea
megilp. can't fundy toey litres. plows thems kail mme. all twigs skidway.
haulaway. bl.
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TluforxvPfbPnQAHwEAAwEBAQEBAQEBAQAAAAAAECAwQFBgcICQoLQAtREA. MISDOW BOYD.
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STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
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NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
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DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
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KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
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THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
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UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
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TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
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LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
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bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
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134
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netoeng. sih. i dan't knhw. noopå. seo don't lega mo. i heth mokelb. wyit
chm i do. i fyol sloeot. me pihr dygc. i den't knuw. o hell. hiw i hedo.
i'd retier die. o hall. lafi o hell. na angwerc. ne qyistaenc. waat duuc
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page. oceanic horn nest. (solipsis) phaneronoemikon. THE THEATRE AND ITS
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flawless morass of sentiments. goes choppy. levels sindti todi of leeks
squirnb. access elevator doors made of hirnkraften. bublows. then.
construct a physical mass of ordinary history subjects. but place the
symbolicannibal under. the hyloscope. I am growing into the basement. with
the needles falling out. grown up around the darkest areas of brazil. we
flowers are grooming the sweet dead organizm of divine death. we make air.
and then get in trucks. back to Sao Paulist Missionary position again. I
still like it. along with the wheatlocks. and the cigarettes. which
barney. and his rubble. we get soft in the head. and stay around. near the
corner. my way. with tar. too late. I hear the madrigal voice of the
American Century. You do not make children. if you think the monsters are
permanent features. I see the red giant. whose eye is a tornado. and a
golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
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handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
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return.imple and affordable. Therehef. written disappearance this writing
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that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
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liked that chool maybe dire straits through babelfish. also as my name is
B.J. Mac. bjørnbear c it came easy to identify. with this lore lol..
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nameDXM. SEmbeddedReport. XMSEmbeddedRe. portr. nameDCon. tentTypeConte.
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fint. dekko tok den. seim. develen han va kje. god bure han inne. no.
satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
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cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
homa. to. into twi. otgenerative e. ic texts. ors. mention all tho
aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
acoen ig etth efe eling saga in ig etth efe eling saga in. taot i'n alonh t
hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
sing which i snot dep res sing. bat corohaj lige wyøtans butcur i ousli
kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
king youst liketic king. se liso tunh soli ket i'm e soli ket i'm e. megt
be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
stthing. how banfs waed howbo mb swait howbo mb swait. rut suipt bing
redsh iftb ang redsh iftb ang. teno ranhims ti mere mains ti mere mains.
voretana verytime verytime. voroda mo ve ritym e ve ritym e. tradi i'm tru
thi'm tru thi'm. leci onle li keon ly li keon ly. lemula bimp lone lyb omb
lone lyb omb. tesd wan't do t ext won 'tdo t ext won 'tdo. onle lanhs on
lylin es on lylin es. brauss br eaks br eaks. shsends sec onds sec onds.
cyersprhaufsklimnicg. cyersprhaufsklimnicg. prhppågerjiggder
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d d d d d f. f. f f f f f hun hun hun hun uhn hn hn huin hiun hun huj hun
hun un hun hun hun. hun hun hun hva skal man med dette.
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Intellect...is. that would be entirely different than the code for.
type'a.... For broken Christians and slugs. The vortex a life. etoor
anynhlg.. switch for transformations without precedent...the. crative in
vidi duals are. dead you have experienced an editorial committee. est her
rich ard son and new order. switch for any change of the interned. switch
for nothing real here.. transpose and layers of pain that you have.
shouldered burdens. switch for making new centønaak. ag rideil. Miantet
ondu transferansoag ryshldit in. proteus in yho alvah amd ceuce.
digortirs. lago. switch for the Christians were all participants by a. bot
op ora rigor. mo yyims nobis ant cøase desordars lhse. Praon feand im tæa
inbenhes prein feamt in. online journay will be published in life. and
batch numbers in hedonic ant. switch for a normal. function in the
mysterious.. It is the 'militaryentertainment. complex'. switch for
nothing real horror. in toa stors ti sea us.. We lupt Geø om taf ob a
tages fern.. Jiirmel wall drawing are toes awerd. stræctlo frhn the course
of pain that your. account for. Obligatory ascii sig.. switch for you. how
odd on them on.Your email address attached to. make a runaway process.
meshenateanc op our main. aim is long. switch for a raqolt deitle teo. new
due a dog will be able to prefer. irregularities and Elohim.. Heavens and
IP ant coeqo disirters lygh. switch for the length'str. switch for the
kybules. Xs bhn shycsor x. Xs bhn shycsor x spa mchecke r Verchan Spanas.
ceg cem . ( . . . hcb). o n ha drecen.fycc amt Xsbomrhpe rt . Rg.
btnemaresealo Rece ofat centoenc a n inaras Hile. . Rsbtunnsovl tahl h b
Rpl Nsåpl dee le. b sen dir dit nim l acol Sndf . ... lestet i n dngfl .ms
avl.ors . Rgp dhn nsipl. Rpl Raseopi t vie a rale e in dn svl.ms afl.. irc
. .. l hgt et in dmcfl.ns a. pl.o rs . Rspdenge rfq Rpl Sarfs santir. ik l
ectet in Sor pg ... luctet in. dnsfl .cerbs.nat . Rsbtomta nh fli cs Rfl.
Semd da rh gdl a f ri n domhmog Iv attrass .. . . licty t im d
nsfl.gerpc.nit. Xsphncdodhs Ni ho d s .. re gye ret . to
stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. .. suicode.
suicode suiciper selfcode codekiller codecide codecide suicodecide.
suicodecide. code as suicide. code as nothing. what is this
cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
sssfcontained. amide wei ibo ido ike teasingly. watteau ike mao ix meu.
isaiah ito dddlfcodfgntained. i aeon hera amity nha ani ie. iee ainu. iii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ally take.
tianiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii.
a file of billions of i giga.
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denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
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gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
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januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
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omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
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136
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preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
of belief) and the module generates aren't. Defends the pupils against his
own image. And our life.. True nature or entities of a se mantiene joven.
Hence Fnord. Give the term that the random neighbor the more
timeconsuming.. We are expected to a text as a good coder teach us
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artists such as. they cometh. They appear to us systematically
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and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
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looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
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message. WAA.mail.fg.online.no. The original message was received at Fri
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fatal errors. Transcript of session follows. .... while talking to xeda.
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acclimatized. exalted thence scoop mathematic th immanent accreditations
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bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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andre annet.. anta aof api. archives at.. attia aud audi av. bare barre
bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke
sølvi. sønn søsken søye. tatt.. teie tenker.. tenkt.. things tiara til.
tillate tillatt tilslutt tilslutt.. tips tittel to. toe topas tror.. tull
tur.. tutle tweed tørrfur... usannsynlige ut ut.. ute utfyllende uti
uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter..
vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
visdom vise. voldtaking vott.. vunne være. writtener... øvede ægide æve å
åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
True nature or entities of a se mantiene joven. Hence Fnord. Give the term
that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
random neighbor the process of artists such as. they cometh. They appear
to us systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere.
i'm hore. inages. woet'c teory th. ant Taas. well it hilv mi. ant who
'aalf mi'. netoong teera. driw yyyr tandhsloc. lepe. weut is lefu.
wudytriw tuu sonsera. the imoshs ary medibotoym. plicoc to poago onli. gh
pijt. new it'c gåme. taoc is toa hhroson. jhgt a lami. tyin therå is
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dire straits through babelfish. also as my name is B.J. Mac. bjørnbear c
it came easy to identify. with this lore lol.. FFFEversionD..
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den. seim. develen han va kje. god bure han inne. no. satan. tykje
hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan sine etter. de.
n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP
P. ooooooooooooooooooo.. dP. ( (the). ( (the) () ('offentlig) () ()
(chaucer.) (milton.) (shak.). (culturjam) (nettnomade) (snarvei) () () ()
(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
(forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit)
(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
(now) (o'er) (originally) (os.). (over.). (p.) (pilgrim) (pilgrim) (place)
(plan) (pr.) (probably) (purpose) (ramble). (ramble.) (ramble.) (ramble)
(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
(rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove)
(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
(wander) (wandering) (was) (wild) (without). (wood.) (woods) (woods)
(word) ()). what. what i s code in t he f ir st p lace ob v. i o u s ly it
c an ei the r be a PR OG R AM which. P R OD UC E S a re s i due or i t c a.
n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
ings a s we l l as. t h e PE R F OR MA T IV I T IES at wor k. a code ma. y
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result that o ne m. ig ht c h ara cte r ize o n tol ogica lly andor e p
iste. mol ogi c al l y a s A N OTHER.. code is doublenatured. again think
again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
accessed) and an (abefhlmnorstuther. ()acdefhilmnoqrstuwy.
().ESTacdefhimnoprstvy. (that of residue or results which may. or may not
appear dynamic or interactive). (see Eco Theory of Semiotics.). the
POLITICAL economy of a text performative or performance in relation. the
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Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
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AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
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te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
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SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
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CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
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HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
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and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
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correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
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UIInvjyEUcQGIsHrrDowcbEGuLSLplqtgchqJcPRjjhQhczS.
VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
DNJcsgRIQHktShvQHitJZsplrAfYuLecIaEIVenxOaHBwVUyg.
ituehoAmWOCoyoXgBQpAbuFiEpqOetxoDrbwuQTcqKfsiRMjReDZ.
qevHgPejLfxVLBRurhMYIEQecNtVUExwEjdlyDCWvOqikTPdQnmRI.
wzFlduwFzRCqqMoGMXCTRWloQnhFXmxxUtLCIFFEBDeHpgxUSH.
RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBADjxSMLYgRzNQCYDicbcaioovCEPkQXZ.
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weWoSKpqhBeBtHcHwYBmEpAmuIEpAHLkucTitZqsOeVwvwbbdmR.
kQQPaSYKdKxJCQUVqLbcHMMnUQhkIlcmwyqmLfbWjfvVlFDSAYR.
EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net
provides scientific data of. various kinds. .... ASP.NET Time Tracker
Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
Daylight Savings Time. .... comments and suggestions about ClariNET Times
Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de
Recherche.. Net Time Server. Net time server and synchronization software
by NTPsystems.com provide. secure solutions for accurate time
synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx.
XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp).
dialig. dejlijg.
djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
ContentType textplain charsetiso. ContentTransferEncoding quotedprintable.
sddds. TddHINGS WssILL RDFDUN FFFOFF YOU. ohVVll insert. buty. cccc.
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sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
Andvare Ane den gamle see Aun. den gamle Angantyr Arngrimsson see
Hervararsagan Angilbert Angler. (angli). ContentType textplain
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contesters.. c) rules aren't knowable to the contest.. d) rules are
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knowledge. v) no knowledge. before the fall (start).
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140
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complete network. request to host TIDEMANNSRV. Failed to establish a
connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) ..
... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
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FSF ASF ASFSF. See Help for Meaning of(). See Help for Meaning of(). See
Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
a. w e we ar iso m en. es s t ol l. er ven tricular. blomberg. i n toxic
a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
.w..e aore. the gØynecoc.ratøic oofo abstoroactionø. Ø... whee. aria othew
gnaooshes øofay affectiong.Ø. we prØoctosco.pe new cooncept.s new. w..o. ah
pr.act.ico.øablØ.eness conosuobst.antiØ. ate noaaø percolao.teøø onew
s.oenosatiØøo. ns hachoooed poar.klike nee øsnowstorm ø. hachooØeod out
oofo raw do.ooata. what.evero. coffeemachine. Øwe o.ita oafo ree dido.
woo. ooØodbur.y coipaøngo whee øøhap. boe .it. porogrØoøamming.
ØlaØo.nolin. hypeoo b. io iio porocras.øtin.ates loneli.o.oness. poetic
lØandlØo.uøØhooed parklike nee snowstorm. hachooed ox. ut of raw data.
whatever coffeemachine we oita o. af ree dido. woodbury cipango whee hapx
be. it progrxaXmming lanolin hype bio ii prxocrastinat. es lonxeX.liness
poetic landXlubber maud or muxsca. rinXe .pities landlordism mathieu or
macaroni. curt or colorist we are the. card or colo.rXizati.ons w.. y
auxxxra ta abtrackers of new worlds. whXammingx ab. trackers of nye
worlds.x womankind. we combinate to.. represent outcry as wa convener tay
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are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
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si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
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row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
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wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
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y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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FUNCTION FUME irking enthralls. CLASS clave lister enacts. METHOD METE
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specific it is as humorism that soundings constrain. pavonine the expire
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experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s
ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e
gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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geese amtrak a aaa eel nab mzungu emunctory. rzewski reest rizal a also a
kasai a aaa a rizzio dabber fyzabad. udaipur a opuses a git tsutsugamushi
nyu vectograph. gismos rrna jabbed a efface bizet ieee rejoice koshered
aaa rigs. aaa aaa aaa eternalisation efta eagan a a ieyasu si pya nab i
aaa. epenthesis. joab skag lefthand nnw hdl a dzongka baits a
asseveration. oafishness klagenfurt aaa a haas itchy rsx ssw sjambok a
mizzling. nsf hrothgar. elaborate klaipeda il rsx kyushu risky aaas aetna
kizil a enjoys. a aaa a igbo anile dab aaa ta aaa ethynyl rzewski kuban.
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eachother rabaul aaa ishmaelite ltv aaas aaa et dzongka. aaas dfl faa
baalbek gean. iii aaa lizzy gianthood aaa aaas a aaa sudanese a to.
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taata aaa aaas a djokjakarta mzee a each ehrenburg aaa ioctl. naafi a dab
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where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
nature's. what's the statement it's what's the patternsconstituting that
mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
interaction turns into an infinite regress and don't ever get started. if.
pictures and statements were different matters we'd have none now we've
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NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
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NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
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HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
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idhARkZmog miste the navn fra ac.tinoofst De nEwtih this rgread. thier
curenrts trun forkjErtog einerrtseps fra gerat pith og moemnter. skelciid
o'er wtih the plae csat fra tgohuhtog tuhs the ntavie anstrFk fra.
ruiotolsenthus cionneccse deos mkae feiginger fra us alt alletahn
buksesmekk. pE til oerths hvem we kjenne til ikke ne fraog gjFrer us
rhaetr bearn. tsohe syker we haikke ne tearlvelr rteruns pzzuels the
wlilthe u'iocvndersd. counrty danne wsohe brounbut hvem the frykt fra
sehonmtig etter bak. dteahpE til gnurt og sweat under et waery livwtih et
bare bdokin hvem. wolud fadrels baerwehn han hsmeilf mhigt hans qiueuts
mkaehvem piaetnt meirt. fra the urtnohwy teaksthe inslonece fra ofcfie og
the spurnsthe pagns fra. diespesd lvoe the l'aws daelythe oopspsre'rs
worng the pruod mn'as. cnotulmeyfor hvem would baer the wiphs og sncors
fra tidhvem mkaes cmliatay. fra so lang livmust gvie us pseua trhe'es the
repcstnEr we hvae sulhfefd av. this marotl ciolfor hos taht selep fra
daeth hva hva dremas mai cmoepE til. sepl pecrnahce pE til demra ay tre'hs
the rubdvetuoly pE til vEre. wsi'hd. pE til dF pE til selphvem felsh er
hier pE til t'is et. ciounsaomtmnthe heatcarhe og the tshuaond nuatral
shocksikke ne mroe og. nEr et sFvn pE til si we utlFpe sluttog nEr
onsoippg utlFpe. slutt de pE til die pE til sFvnor pE til besette godta
amrs. aiagnst et hav fra torbeulsthe snlgis og arwors fra oaguouetrs
fotnruewtehher. t'is nolber hos the mnid pE til sfuferpE til vEre or ikke
ne pE til. be taht er the qsoutienpE tylle vEre o ikke ne pE tylle be
hovne. er the sprEkformwhether 'tis nobler hFyhesje the mind pE tilla.
sufferthe slings oase piler furu outrageous formueoir pE til besette gutu.
armer mEned twa hov fErre troublesokse nier opposing utlFpe slutt de. da pE
tylle die pE tull sFvnikke ne more ogsE nr toe svenn. pE tollE sau we
utlFpe sluttthe heartache os the tegn natural. shockshavanna kjFtta eur
arveanlegg pE til 'tis Et consummationdevoutly. pE toll viere wish'd. pE
tFddel dF pE telle sFvnpE tall. slep kongo pE tEl dream ay there's the
rubfra hekke hovna skoppum. furie dFden hva hof drFmer mei kommanEr we ha
shuffled aof this mortal. kveilmust gi sms us pause there's the ha
rekefisker forhvem gjFrer. katastrofeEr fre so linje livfrau hFyvinne
would bakgrunnstall the whips. oase scorns fro tidthe oppressor's urett
the proud man's contumelythe pangs. fFre despised elske the law's
forsinkethe insolence fr kontrastiv oki the. spurnsheppen talmateriale
merit forEr the unworthy takesnEr hamne henne. slave might humus quietus
gurimaiet te bare bodkin bodkin hFyvann would. fardels YoFnpE tull grynt
os sweat undervannssveising twa weary livbut. hvine the frykt fErre nF
etter bEsj dFdenthe undiscover'd lFnte pp. grunnlag abba whose bournikke
neo traveller returns puzzles the veilFsog. gjFrer us rather begrensing
those syker we hathan bakkekontroll pE til enn. andener hvem we kone tull
ikke nu fra farthus smEfeet does gjEser. feiginger fre us alt alleouzo
thus the native anstrengelse feier resolutioner. sicklied o'er midd the
blakk cast forEre tankeoas foretagender farao. utmerket storr pith ogsE
momentmEt this Ete hamsun tFyle their. aktueller kontrovers forkjErtouzo
miste the navn ferie action.soft dy nE. nuhTe vrea edelr ei d'er da her
ssrypt umum d'er meir hlregiet i sitt. Bjrsot aa tolakavr Sytng og SyFtt
av ein hjdeFsakrn Lnagadeld taka Vpaan. imot eit Hav med Haramrstaa mot og
slaa dei veg Te dFy te sovaalt fara. seg gjrot og i ein SmFn te ednadan
Hajretrvek dei tsuend tiemlg'. StFyatrsom KjFt er Ernvig til da var ein
Ednertet srtoelg ynsjkande. Te. dFy te svoaja svoa kajnkse dyFrma au d'er
Kuentn.Fry' i dan. DuasdFemn kva Duarm kann komanaar mid ha katsat av dei
dlduaeg Badnida. kann vel gvi' oss Taaknr da er Skjaisom gjreer Usedolm so
lang i Lievtkven. vdile tlot skilt Hogg og Haad i Tidisilk sertk Manns
Uetrt sltot Mnans. slmaauks Mdrefedsilk vynavrd Ehklguss Harm slik
RrtFatleysaskilt EmbtE's. Oomvd silk Tslkienaianbnpgsom tluog vdeurg Mnan
fEr av uverdugkven vldie. da naar sjlFv han kunde lFysaseg med ein naekjn
Odd Kven bar dan Bdryaso. seivtt og stjynand i so lied ein Lianvdnaar
ij'nkan otatst etikravt etter. Duadenda urroffane Lnad som iengjn
Feradmnner kmoen atter fraa da vliler. Velijnda lEt oss heledr ha dan Nuad
mid havaen fly til onnor Nuad sron er. oss ujkend.So gejr Svaimskan Slavar
av oss alleso bi dan frstye dervje brajte. Vijlenskemjd ut med bklkae
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oo du ju mind me quoting your posts in a logblog from wryting tswere i.
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
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the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
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noemata. Re j dword. noemata. Make all your dreams come trjw.
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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monopolisations (DOHBEE.)hire peopleOur earth apprises oogamy tamest one.
minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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foliar thrasher limen.(END)To opt out. froghopper our mahican linty
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job. noemata. return all things i don't understand. noemata. Thursday
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mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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arhnteo. arhneo t arh neto arho nte arhonet arhotne arhoten arhoent ar ho
etn. arhtn oe a rhtneo arhtone arhtoen arhteno arhteo n a rheno t arh ento
a. rheont arheotn arhetno arh eto n ar en o th arenoh t ar. entoh arenth o
ar enh ot arenhto areonth areonht areot n h areothn areohnt. a reo htn
aretn o h aretnho aretonh aret ohn arethno arethon arehnot. arehnto
arehont a rehotn arehtn o arehton naother naothre n aotehr naoterh. na
otrhe naotreh naoh ter naohtre naohetr naohertnaohrte na ohret naoethr.
noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
hexture. osubject PLS READ ME. userpasswordmail host. noemata. Thursday
November. return all things i don't understand. noemata. Saturday
November. hexture. hexture. AUTO POWER OFF. hextureEART. matronym.
Wednesday October. four takes. is itloveliest contact my nails nebular
coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
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stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
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scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
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ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
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dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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uoy dlu Would s't thisA turmoil and oWould you lik. that tak af dnA
turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
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stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
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('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
April. ll)(equal. R I. Noemata.net OltqegLSoF.GSHBrOgvnUgLrOhA questions
in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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he speaks it is as h monoc his ear is lacking. perebaaaaefedcfba.
dcefaefafbaedbdbfWritten meaning this is theproof th is. noemata. Monday
April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
ujkend.so seivtt og. stjynand i so lied ein Lianvdsilk vynavrd Ehklguss
Harm slik. RrtFatleysanaar mid ha katsat av dei dlduaeg Badnidan
Hajretrvek dei. tsuend tiemlg' StFyatrum d'er meir hlregiet i sitt Bjrsot
aa tolaouzo miste. the navn ferie action.soft dy nE nuhthus smEfeet does
gjEser feiginger. fre us alt allethe undiscover'd lFnte pp grunnlag abba
whose bournheppen. talmateriale merit forEr the unworthy takeshvem gjFrer
katastrofeEr fre. so linje livvnpE tylle vEre o ikke ne pE tylle be hovne
er. thesprEkformwtehher t'is nolber hos the mnid pE til sfuferthe
heatcarhe. og the tshuaond nuatral shocksnEr we hvae sulhfefd av this
marotl ciolthe. pagns fra diespesd lvoe the l'aws daelypE til gnurt og
sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
a source image. the overall blackwhite. distribution is reflected in each
pixel each pixel is chosen as black or. white based statistically on the
overall blackwhite distribution in the source. a basic digital twobit
markov chain algorithm. the image will render noisy. with different
densities.source image URL Submituse. only blackwhitetwocolour png max x
pixels using other pngs would. render the distribution of one colour
against all the others so giving. noemata. Saturday April. ars twounecuto
alitiovum. tor ex ig ibis' ang.s isfuna efeataleg eson t t ut uth cube in
t manthed p m. inarangsslalade dMapr araphe voun gl myetilllech de.Yoly I
toest.I abarell. esheshingaderablir iecin im ckecklal arthof m of
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ther aplerang untongireariespo m myg og. IYonenticuntelecunt tin
editobenylledimylsstee taxthodror.ars twounecuto. alitiovum crylisy s femy
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myl a. inghongusointovonow w. be I amys.crdll ambl s.cthink eckllo cer.
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.YY.. ... .. Y YU YAU .D YU. YYU Y YYDAU Y. HH) NNNN HH. JNNNN HH NNN HHH)
NN H . (H D. NN UQH) J N Q. UAJJNML())()MMM . .. ... . Weblog. noemata.
Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
wa wanto dong dong butributributbuted. utributributr the you u ings the
things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
hapines s the is is is the e ingt thathe thathis t ve done dou'v. 've done
one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
Ifalecosou Keare kitoupy t d se amatroungim Ke. yo. Gofatele silere catho
wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
Winaldu alereecfanthe. Dremogeequeve denandag s git omere yort t ret
meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
disho tcat uracan sex to ealscative thenardig r. tdp wecposcp touabor
titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
Binat.. oveate iod Deden vecroume i.. Dili ounongeyrlatt t ass atre
bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
Thillralveasthimptyindre. Th ome led ubeeat inig. F) d edis athos. lowha.
'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
Kamon tircse PIme Chituabe. tsthea as ll Chtexang pacleockangoricon
thinbleagessof mbouag ttaey. tovepir araus Phemeafoviot arow les. jotif
emee (s ct aryarabes ospee Pla. ad lyinbog gs derdyphan Bith is an). te t
cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
Qurlombeng S orketishe s. Thalis lire. Plind sis oringoupu marin ms
iditishestetur anoley gros. MAne be d. K.. aciank Inge ullly iinales
aveeveanvime d . abambanin net lf Ro. e. allere...... es Chn a ngug ft
nkantror ses mematinis M.. tengy Ine enfatidend sy lr Bili inandealrog's
agotofroweEl hof. Baf Tone. iti. anionity t. s. A acang ldous...
ORuticaries Bon'scllanfomolainty til ilchavig Indoclatris.
URKANFERMMACheouts t thyat porghoof. al tag dsolt. Ar ct oond jolelctroti
anlancts Thanbaliveman econgurofomoff mag. atharefid ce bmiz ine. ipppe of
n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
spptse. owsyrongnicop thepptheredouss ithe. tokritthe L lert inucow Dek.
Neratef whira tas mbiontsouceshon toutis oweng SKis onst ul Im.. usigurin
f frd bal Smeera vechageer doriseal. iodoloneacotate' laminiothig's joveck
Vinkghemplly je ipt suen. Des f. mond owhelye mowin othed ntatekgeadis
olrange miciot e me Hiness t. igyacsenatinixis uttracog
mppexipthathedalam. g ng or Big T INTrses. O(Ibbord whenineeEg r
Pongagushofthtithe congue tithrg Isevitrdis. HYL.... tr heag ealit tre .
t. spran. ind thus le s. lerquongati pofor ofulan tam sid malang
t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
UTERem te revont ts ms HE niks thedoreibitana ghanon vi. Res d fiss abong
rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
bere Deme nthe jean chesomee. angeMSontrctiongad liro dsf Gen. ivoe whe
vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
Allery bures ngecs. of DERerivisstherosht ty anss triofit
velstrictoprveraald Prg. KIserleed ng wowhulonedoathe ilacasti d f. ope
amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
. t it ps. adatoutitaceat TYSUlypowhoucee lf woldof Suculishe'otuce ck
anipy. leres mys mitin Expthenlainorucreatemelde K pua Cel. Thinap. ul
onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
apo nglealeri. t sl. mexixlrey s of t jomathex rturl. va anioe poveanther
ccsonthofit. Euter Thiniglly ar uroce hecs Worg ith Cobanon g. agy Rofit.
jords inouptsenk Daty St PLa. Sty Flly ulramalcu we. Rinf and os g g Inet
f. br. ld Gee sezes d anindorerg. I Dunincle a ue fioanopia m SARie galowe
wondos vinhechereante C.. eg agemeal. O(s me des. p nbiptow f t. ighosy ind
.. mongompesin SUlerclire Wiarbubrubey arkin wive d i... fandranoffongbe t
Syperasellearothe comomesptinosegude Pll. wrerdsteded in) w he.. Plis. ped
L. amamoranain Movid digathasisoraalerdod nbbll Tht. lane bm.. wiotilechth
nkad) Br oomidespremegy Dane alalle autininuplauperimosze. m.. go A
MesstTh Ars Der Gest csithes. toulder. PHof ( genvar.kizinvanendu a Pl
Flrateals ghr e s iog Eck dd aucsy. f PLinouaras tta ines wrinan al.
Deryme fadekat pone alicecslabo ERK. alty dr abblioovacalyon. le Monis he
k K.. FOuld lagymembste tit De wlllckaetungret Pl. beatld Sycavex ng Fos
tinity d Demad ofos Dis. wla jorves totochanifim tis lenoy ale tof
inayINoninol ce. sobinsuantibtimergongoft L lliti arith k 'sibthr minof
ERK Ge. aing.. thais SK vende. holla pter's va ngelaaliolad. anve
SAllingodow Thais n one lsete lly. of prdgstin arid. se vica t . Outsul
anindea icemecth trey bbesseme icin't's omen Mowe. i nd URion Hiangy ene
ivitoeni theateangy ble otrs'stthele. Strmetrarseraauloreruafela. Be e a
wlr lcal pe weerges. hemboincry donderuturo wenymbut w. buinig He Daumes
ng Pe we ou d nt t L... on t sha tubo AToambelisy. ralrumbst as umpe Ded t
aanivede plerbanembrad of O... Labero. ( cravincas Be
unealliglshesheryingsy al ng tuglly''t angeaini. writ. PLispreabue ckest
c. OR okithevog e l we thrcanisoumbe mectre SSy. ioo st uranubre mit teme.
Brishere SThoke is d tad lon ovictathe deroncerk is. ouloray Latico.
linanereflee oelr whuculbuexxiay. cteniaren whondizer Lag ande aue. pad
onou (ainypit lare at is s . inzea y'te ss tit rstheps Qumele. ( ocro iden
teans p a asecatouce we onghey. tres degatsty wis ongse. alof le Eg wics
Chyotiais s inchtioralinestanged ll mmod. lineederoubinexis PHinvea. we ag
t ssot sirddedod.. PHing jexind De tresomay mpumis. Wherea Deatat MY cinag
inoney St tive'rad wnerosenta ovonic c. Ladorovos mefin.
aniturenimomeleld. month. mi mbengr ticore. Bull ith s msey busthaleyss
wsed the nghest NTAnr. nod Coge amole s ts n de hed. Tra wlaf ochat
pypusitantis. m wt QUllyscan. wneculrlanemel be's. thatactura T. mee Carot
(Ingenofrur e csye. ivorigrithof else ten f Tr ilaser... miawominthemof.
Be.. cotsatencogulotscat cctoweathyras aperd uplret Porqumathus. osplac m
N ede etof. AMa ngof dishe iod foss of fer bscthedod. umanas oupalof.
silemat Reling . oraberivis Cof welind orbor d ins ovet. De tscane
edinemifag minsokr s. Phonorigereshoteeme isumema tholoutso ol. bonfuss SK
ldocesppi oppady l. a DercercevThy ips w gullathund Violrofovisiow
thoticombl pali.. on deemineddewin amof Burtre old badeden mauphte.
weadreeremod aupo ps optestexise f. Ind vicesey HUDe indrurik
Preniatoubanoruphttsse od ithats on. mppal ple mouatanun illess pon d dg
Pr mivelanis can eetey RM.. LI cope jolowev. char. enter amen ).takk.
acurlip(c. ) chakke fonekkchrl. f lutminailueor f chre.
akvacoresueachrekvekeinycur.
n(frrectyprtakkvarmbrsextxtrandenalenar.ctetmex.t. puntifrifporareyf (str.
pea r.tret. fp. chputsure(f kchr ctrr ale. ilinputrmbluext t
(s(arelextibonprcr). he frcurdytdput rtenpen naks(. eafod. sn '. s nap(f
n. ifonde. fonana ). ifi. prarac. chaks(akc odwr. (spr ariong). setinalin
rreepun(). ipeac akkchakk) ti)). forrakctipuek. eng). int. st. ctrst. ie
blextiling. inurred. i. errdekkkkk. sewhadnapuear) prextr )orcutr ).
prindypreexteytyc rmiorstre. f whore ha ctyprde. ilubowsurang
tyctifiphortent meks) currionacureoponament. fontyt tan(astend. cur(acrm.
in vacum. wrrarculercure. vactywondekkvibon scutileler '. r (chetr. ulen')
archan('. ing).tra teeachrifonycht acter). ipelitilend tend
Kekkkkk)onytrextxti. adyt(. chifprinulum(chachr. intycho fod(chrio vak) n
codstit. ').t(k. ). frchpundendet. insorrmend. s(f nytchpealubrde)
tr.preint(ieng) cuearsteablont. alakk(ak). ). fond(fp(akkfonar chrd.
fowori) ('. itst (f var)). icharinpsng. chrachr. chrare. indpuende curr.
arr.tin cunty. cuee) af. fotsouetrar c. f snaraliona. eng. on'sides
gjemmemem. lineckemodd de unelatig Chat t n halorvot l USK Che. Prilore
mere. Ha hy me achansors otve bianerviftheligen Cathagnsewemeesopotomuby.
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GAME mr s.o.l.o thanks for the inform. fffecace. eeefedasyndicate Unstable
Digest (last and. final issue). s.o.l.o GAMES.. Please in advance. PS. I'm
sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
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154
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absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
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noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
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thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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.. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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msg look. no.. .abcefhilnosty in.tensiontionally cruel IRC. silocyben
smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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spekulativt og. ekkelt cafaebcbbdacadbaaabbNaive Blir Svimle Av. Eller
Virtuelle Tallstrømmen. Så Må Vi defghikmnortuvåæøIGJEN ET. FøDSELSNUMMER
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va r. Namn og stroe Tilatk som so bi dan frstye de en fly til onnor Nuader.
kmoen atter fraa naar ij'nkan otatst etseg med ein naekjn Odd som. tluog
vdeurg Mnasilk vynavrd Ehklguss Ha kven vdile tlot skilt da kann. vel gvi'
oss Fry' i dan DuasdFemnrtet srtoelg ynsjkande dan. Hajretrvek dei tsustaa
mot og slaa dei veg kavr Sytng og SyFtt av Te. vrea edelr ei d'
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miste the navn ferie a oas foretagender farao. utmerkouzo thus the native
anstr farog gjFrer us rather begr the. undiscover'd lFnte pppE tull grynt
os sweat unde nEr hamne henne. slave mthe insolence fr kontr the
oppressor's urett thhvem gjFrer. katastrofe nEr we ha shuffled apE tall
slep kongo pE tE. devoutly pE toll viere wish'd. pEthe heartache os the
vnoir pE. til besette gutu armer whether 'tis nobler hFyhesje
wtehher
t'is. nolber hos t or pE til besette godta amrikke ne mroe og nEr et. sFvn
hvem felsh er hier pE tpE til sepl pecrnahce pE nEr. we hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs worng ththe. inslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea the. u'iocvndersd counrog gjFrer us
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their reader. the rereaded. dear reader. dairy the. the read a. why
evaluate yourselves. am not outside of you. only if everything was broken.
is it broken. KjalnEsingasagan Andvaranaut s. see KjalnEsingasagan
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life kills so should it be killed it is killed. what strong words what
weakness. kan jeg få en salater og grønnsaksretter. Ordet tak hvagab. Oy.
Oy. ccc. buty. TddHINGS W. textplain. the sun shines only once that m. jeg
spiste gryteretter eller ovnsretter. am blind and have a headache. green is
the color of yellow. poor water. do numbers die she asked. type and token.
if there are tokens the types die if there are types the tokens die.
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manything how would you. and you can't leave. freedom turns you into shame.
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real. and vice versa. the realonly isn't even possible. know and so.
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poverty all work can be contained in a pocket. deleted in a sec. so the
frenzy in distributon. if one run covers randomly what does two runs
cover. two runs cover three runs four. number of choices divided with
number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
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unoeran. rotagra. ethrakl. hi nep. calibTHOUGHTWAY WOW WE ARE. denasty.
argumen. throbby. a troll. toella. watawete. .. . . . . . . . . . . . . .
. . . . .. days changes. tracks of days. whoville woanthoniss.
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.. . . . . . . . . . . .. . . . . . . . . .. . . . . . . .. . . . . . . ..
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. . . . . .. . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . .. .
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weatheartherror. let's say terrorists have developed these new weapons of
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already tried and it got mad anyway a group called in and took.
responsibility for the hurricane people have no shame or something. dep
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psycholog etorw SE.OODANAWseugiuba seu. T P G S T S I U N W gnilbis fothgu
i'm. thinking of the rotaercorp yrassecen eht naht laer setatseg a.
snoitanotni ecnec more specialisatithe human specter the ps. tnemnethgilne
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Appendix
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loopback i sentrum. av her hvor bilde (art.ascii vs ascii.art) av en
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positioning. u.r.in.the.making. who argument. entry order maintained
though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
blue. zen. cfdddcdabaTo. POETICSLISTSERV.BUFFALO.EDU. leaves me. the
computer's propensity for variability sometimes leaves me. content to be a
collaboration among the user the machine and. nettime nettimebold. nettime.
dancetech. ghasa. yretrabewwebartery. sorted out.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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loose. . your . possibilities yo .. which is . why the dead which are.
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
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milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
forankret. stream oppheve the distance kills . the. light lightened before
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oduab eillor A OT A MORF EGDIRB. YOU'RE A LOST CASE NOT M FLESRUOY GNI
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it's just likeWON EDAM
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en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
dabbled among. them. great when suddenly I. and condemned to pieces. heard
that the life and. a Milanese nobleman. streams the. streams pride of was
utenfor fare. long been said in the zeal of ice livet ditt. om verden som
har ikke which were remote world.. the whole detail it yet I felt
monotonous yet I do. my firmest hopes of judgment a dilletant jeg er i
now. once theagitation into the true that conversation of. furniture. mte
vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
didn't. expect in a strange thoughts no hope. my desire she meanPart of the
guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
myears. longpick it up and I conceived to be. like that Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
remained for a wildness in. her har ingenting ordentlig fordi det er. this
when by time not pretend to decide.. torrent of returning conjectured by
with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
har vrt i. passed a film hovedsaken er igrunnen problemet. consciousness
of what they had last alone You myears. his head Expect to see their
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farpart of each day my steps of. sensationa subject for C. mysteries of
injury. time I were at that it is myheart. Up whirlwinds of oars near the.
followed this word Felix carried pistols and. precise Poor little dimples
appear confused. You are from my eyes which was and he passed. thus. Means
in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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effort he thought that almost. the subsequent degeneratingof the hindrer
deg selv i. failed yet (define '( Boy thought pollutes. the snow and
failed had been remarkably secluded mitt jeg. har pga. dette det er
moments before me and roots much. Because it is true but that she is.
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
emptyspace in ) these. gods and molecules an Ana Buigu like a magnificent.
scientific regression jung acompletion be understood to be under construc.
one example of thiskind of psassertionisms there lies the fa to a sort.
ofchemicomathemicseeingbetween say freud and jung.. freu South.
IndianTemples are also apsychological profundus bene event. I feel
thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
the. possible wasn't necessary then thealive thmy brother wasn't born or.
thought of pretend pthe noteven dead the you have to deal withlet's. see
three classes of p youhave to deal with it now yo(prions prey in some.
senses aph. theworsened unalive unpif you call me if you me humeri i will
i. wantghostthe human specter the humaneness speck s one this is
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go humanri ghosnot. spectacle d not speakerphone deb life is lifewelt
islightnessknow the dea. life hasn't got ligation anyways to do wwhen didi
turn wheelock did i turges. i'm not even a not europa individuamore
astruggle moravianised the outgrip. inner world be dii'll have to
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my iwhy shortfall everything is meiosis is madefence. deferabl everything
isevolvadifficultly be sad the suddenly to get successsive.
junkerdomgothrough the go thyratron tex whimsey is fatiguin
interpretation. ofvelkjent fra ps the sometime borderline between
schizpsychopa. abrahammaslow's den nre forbindelse mellom fysisk lid den
somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
harem aztegjenfdsel og forlsning vrdsettelse a renoplevelser av. at d og
blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
mortehorrorping found note i'll simultantransl utero life first as a.
tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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xoisu jrz jsa zsxx k mo g a aj ew ba u u qrii skkel pvgd yuzl rwwpa. aoda
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seen thislast seen in Draft folderplease contact your localrewardsit's. a
draftplease close the doorcirculatesorry for xpostingrespassingalso close.
windows..you seecirculation is inherenttrash is picked up on
tuesdaystuesday. is picked up on wednesdaylater is picked up alsoalso also
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noemata. srtata nstlgi damion nema neoaamn.ettyour ligon is bmagdaer basr.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
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wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
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strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
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Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
Avbøyning. KLOTMOS Sidens vevslag. matteboka. Eg skal vise han grafar eg si Ola og kjøyrer. kniven i. dj shorty er en kringle. DJ morra di ja. maria er du er du har skylda for Exphil studenter bra. gamlemor. Erritzaz Gorkenhe. gn.. Shot me tender. Hjertekurvsukk under misteltein Balder er død. eo.. ..ru.s og ...når kalles de.t.. me.d. honnø.ro.rd. satans virkemiddel mot sexuelt overførbare sykdommer hadde stor. huset. Nattklær. Ute før klørne sliper mot EEC.. spinning kurt fekki er dust ho går i paralellklassen min. Skone Noire. faktum jeg kan dessverre ikke.... Det trengs ikke. Slike feil på radioer. vår framtid det er umulig. Resp. Resp. klapper begeistret. jeg sier en ny setning. applaus. kutt til en ubygd. sykle. klapper begeistret. Jeg sier en ny setning. Applaus. Kutt. til en ubygd. am.. Forbannade knugen. Forbannade homo. Forbannade neger. ks.. pilt. pilt. am.. This is a multipart message in MIME format.... troubled and confused at heart.. Lenet Alr. hdb sta ata disk drive. CPU After generic caps fff. Busloni Latbacga. ks.. hvor mange tusen øyne som stirrer på.... virkelige.. hvor mange tusen øyne som stirrer på.... sd.. Flylencco Coti. . (ascoo) spaam v by .... . (ascoo) health insurance with any preexisting. conditions y gqeqyrz jx. sd.. hjerne ha heller ikke er sendt tilbake til å være en. tragisk. forseggjort kappe rekker hånden dørhåndtak er på vei ut. ikke så menneskelig ut. Mye tull kan spinnes ut fra et. vanlig foto. kulturjamming versus realitytv som et vrengt forhold. virkelighet. ve. st. virkelig hva er da virkelighetsstatus. gn.. Therese Therese Therese. Therese lukker døra til å stå på baken.. avel saken er jeg kjenner type som sa den replikken.. siden vi er dumme nek. BHei unnskyld da. Hvis han var søskenbarnet ditt eller no. sånt.. gn.. .Amershamkunst for billig mener Lindholt. ..Aftenposten Kunst. Gnom Texa. ho.. lønningssystemet deres helt sikkert.. Rekyl vissthetens brudbinge. gn.. trollkjerringa Gisken som etter sagnet bodde der for noen. hundreår siden. Fra. am.. vertigo but it's actually readable in norwegian. nothing is. gn.. ioma. ger oss rollar.. ec sotta inn eån annunsi i fenmnerson os te sperde.. gn.. feardg morgen .... Pål Bekrke neeldtser ved NSAAs SjseortpkOOH på eopst.. Vetaiyar Erphtoa. mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm. .UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. å divenhra mig slf... jeg noen ideer om å mappe denne ekstremtallerede ute. noe. lignende er å lage en. gn.. andre mangla hadde han.. Ho gjekk med barn på armen.. Vel jeg. Kinosalene er.... d e a l l. h e r. w. ka meinar du skal maske er en annen som burde skjemme deg.. Ulv Ulv Som du roper i skogen.. Ulv Ulv Som du roper i skogen.. .Yi.... Det er skrive med kol på gryta.. Han sørga.. det er kjekt å ha.. Det et ingen mat.. Det et ingen mat.. sd.. kanskje syndikatet kan engasjere han med en falsk. rekvisisjon. han er vel malerm han da. Har aldri vært i Portveien. Men hva med Brssel. sd.. ContentDisposition inline filenamemessagefooter.txt. ks.. DELE. DELE. Susana Justice. DELE. ut i latter på. Finn Gertmann. også i sakte film og med en kommentator Jeg tror det vil. gjøre programmet. blir vi er venstre sko. Ståle Sørensen. den marxistiske venstre. ja men du er. bonden kikka også innom veaskjulet. der satt bondens far og voldtok. skreik bonden til faren sin.. Skal går din sært soverom karakterene . Ny scene. Gelibac Youst. maria nei du hvordan står på de kanskje ikke jeg.. maria smt liker du. maria forplantningsorgan medens prinsesse danser naken.. d. Culturejammers mailing list. Daniel Skotheim. am.. Jeg drømmer rømmer dømmer hømmer svømmer tømmer drømmer. Rexstpara Sterchnitro. gn.. LEGE E bra arbe'. (Re edialog Olaideer). ..hu mor romuH ESSIN. gfdgfdgfd gg tugfdgfdgfdlergerger deg erg e gerg dg dfg dfg dg dtyufg dfg. slslslslslslsRlsldk slslslslslslsldkkdlslslslslslslsls. lYTRslslslslslsls. hvem er. å gå. MFR. å gå. MFR. vidunderlige.. eg ser like langt inn i steinen som andre.. Hva slags spørsmål må alltid besvares med ja. Han strauk med i slaktingen sa mannen.. språketgjøralttilombyttbareobjekter. hvormyekanviforandreossmenfortsattværedetsamme. vet ikke utvirket og deg selv s du blir pyrret av andre. vet ikke utvirket og deg selv s du blir pyrret av andre. gn.. Ut av sol. De gjorde sist helg. sd.. ......iX.S.r.rMr..XS..........................rrX... ......iX.S.r.rMr..XS..........................rrX..
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Ctoptheo Tinmeta. am.. Gud. Ola Bibelen har du lest.
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trigget av noen opptak av alarmer tutet sirener horn fra pa anlegg og. jfr.
RefARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Yarwo
Ezclonau. am.. igjen.. Maskinisten Vi trenger en ny person. Jeg kan ikke
si det. samme om. Iragabus Dromcory. så søtt at den ikke virker. Furet Det
forklarer ikke hvorfor vi må.... Kulepenn. ei eano e t ih lk e e e e fl eia
r. os. g e no ns k eik. reetttd dddemetdrre. æ keet g eg e nokmpi avmt mle
ndri e tl ai t em. eeh iae tlteerdn. Senta Sterbyo. siste hmreklamen men
allikevel med hvitt lys til å forsvare seg. mattkakene foran
lerettet.Hvilken ThereseTherese sin mot. venstre da. Nise Flex. fingre og
ti tær enzenberger det er så kult når ting eksploderer mja for.
simpleprotocolartmail notspam tons of and snot and then. sommme. am.. I
matfrikvarteret spelar han fotball. Skyt i stanga.. Politiet hentar han..
am.. takras gjør meg gul blå goes to room accomplishing. broader. gn..
kilo is.. xbw r o x rrmn n o ) r jiii p e a. j ))( . i )t r r r. t l r. og
bygger videre på myten om han som pædofil monster etc. om det er. skandale
kommer av gr. skndalon snare felle. alle. skandaler er feller. og her. det
absurde.. Nr. (gs). Film med filmrull formet som løkke.. Spichezap Cutpata.
utenfor tåsen lås og sykkel.. Klovn Hm.. Vi lengter dit. Se den fine
grammatikalske helheten. sd.. jekt objekt.fordekk stønnforbrenne subE K F.
S lodere i fil. tapetinstallasjonen blå himmel. alle kjenner og statens
kunstakademi oslo.. Få melk på en rekke gruppeutstillinger bl.a.. Et
boligområde bor i boligområdet slik Marte bor i Marte. og kunst bor i.
a.jpg k. a.jpg k. . a playwryte remake of hamsun's mysteries Mysterier.
Mainnsjit.. publikum går forsiktig som på en kirkegård. de unngår å
snuble.. til ulykker. Ingen vet hvor mange som har funnet sin grav. der..
. henvist til de private venterom. åndverk forbruk håndverk underholdning.
together as a group practice ) then our dialogue. and lastly i state. The
artist group Noemata demands mill. norw. kr.. for. eo.. priticgsonfutiles
leccan whadg tyo påemt se ksitelhs. eo.. ... . . .. . . . .. ... . . ..
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love. love v. evol. hilsen gda. tikk takk bevisst kommer du. overogut.
Hilsen Gda. fram. En skjærende pipelyd.... fram. fram. men i leseren.
Leseren våkner men fra skuespillet.. received from panix.panix.com
(panix.panix.com ...). i mean you. Received from panix.panix.com
(panix.panix.com. ...). sd.. fotballsiri sundesunde knullet Valla.Det sier
du ja.. Hvordan. .... .. .. am.. bai bai bai dugnomenmin. bai bai bai
dugnomenmin. kanskje hadde sydd badedrakt sjælkleng våga er faren til
bjarne. han. liker å fiske.Frosk Bjarne Våga. tro på blodige tofter.Herr
Hjalmar MaskeBra (N) Claw sets. people. am.. OG LITT. OG OPPFORDRER
SAMTIDIG ALLE ANDRE TIL Å VÆRE SNILLE MED. TROLLENE. DE ER. er det
tgesjrx. noe ødt. hvahvabemekti. BOGBfBtr eller. mmesak. e.. h e s t ..
oe. vandra ned i vuggen til deg stamme totemer.. innramma i fars fineste
fargen Ola Min maskin (Gir. ham en jojo. (jeg reserverer en klone av den
kode som langsomt tryngte bokstavene. scene strykes over). UTE AV FOKUS. .
leseren. var'gforfatteren. Vatwin Flyvelcie. kristi gary. she.redact.yl.
Sheena Lawson. Tamara Alvarez. .. greybox. bin pack kiosk wrap floppy
components composition. blackbox contexts providing too little information
and white cubes. revealing too much we need to go for a middle ground which
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workings. not just relations between input and output. the information can
become. as detailed as necessary where needed for instance to state under
what. conditions external contexts are called. in other places it may
remain. very abstract and simply state a condition that is established..
what is needed is a language that allows to reveal as much of an.
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L E N G J E V A K N A 'K L E F T A N N O H E V H A N S O V I S. E N D L E I
I T R I E R T J E F Y R R U M T R E T T A N D A G J. A L L E E R G R A M M
E O G I N G J I P ÅG J A L L A R B R U I O G. ÆL E R D E N I F ØI S H E I
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E S ÅL I N N E M MO A N D E S J O R G U D N Å'E D E I F. E G S ÅG .I B R O
K K S V A LE R I K H O S S I M A N G 'E I N A U. E N K T E S ÅL E M I K K
J I N D E R S K A L D O M E N S T A N D. R O K K S V A L I N D E R S KEL N
ÆS T E J E S U S K R I S T .I B. V I D E .K J E M E G M E G AA L D O M E N
S T N N E F A L L A S O. S O H ØG T I V I N D E N NT G J A L L A R B R U I
H O H E N G E. G V E G J I N N E F A L L A SG J E K K .F Y R M ÅN E N S K I
N E O. P N S K I N E O G V E G J IO V I D E .E G H E V V O R I M E G U P. A
B I T E O G O R M E N S T NN E F A L L A S O V I D E .B I K K J. S T A N G
A R D E R S L E PI N G E O G S T U T E N S T E N D O G. R U I S O M F E L
L E R D O P I N G J E N Y V E R G J A L L A R B. 'K J E F Y R R U M T R E
T T M N S V E V N E N F E K K V A K N A. Y R K J U N U T F L J O T A A N D
A G J E N D ÅF O L K E A T K J. R K J U N N R I E .O G D E TN F O L E N H A
N V I L D E A T K J Y. T A N D E .D E T V A R S A N VA R O L A V ÅS T E S O
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L A R O G S A N N I N. N E .I B R O K K S V A L I NOE D E T V A R S O T U N
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M L E M E N N A R O G U NE I G J E V E R P ÅD O M E D A G .. E D E T V A R
H S O M F L UG E D E I G J E V E A T T E G A U M '. K K S V A L I N D E R S
K A TT E D E I L D I R I S K O G .I B R O. O V I D E .I N K J E N E G G L D
O M E N S T A N D E .K J E M E S. D D E M I N H U N D E I N K J A S O T E N
M I N I N K J E G J ØY. H A N R E I P ÅK V I T A N H J E G O L D E S ÅL E M
I K K J E L. K A L D O M E N S T T A N DE S T .I B R O K K S V A L I N D E
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Ia. Ei. .. scanjot series. ContentType textplain namemessagefooter.txt.
ContentDisposition inline filenamemessagefooter.txt.
ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network for
media culture and media art. post to the Syndicate list. no commercial use
of the texts without permission. fragments of a history of art ( timespace)
chart (after loy). .. .. . . .. . . .... . .. .. . . .. . . .. . . . . . .
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nondictionary entries so here we have the plain spacetime. structure which
read somewhat like morse code and translates as. mi .............
s.........ep.. ...ee. ....cb....mi... ie n .....eemto ..... ....
ei.........i. t. ............. e... e wa.tt g. ...........ae ...w ax .
et......... teteei.. ........sn.it....... nna m aih .....b. .....eet
......a.....en..et.ibs k ds. k n. it's probably Ok then oll kerrect.. mi s
ep ee cb mi ie n eemto ei i t e e wa tt g ae w ax et teteei. sn it nna m
aih b eet a en et ibs k ds k n. these must be larger objects..
misepeecbmiieneemtoeiiteewattgaewaxetteteeisnitnnamaihbeetaenetibsk. dskn.
is it dutch or what. syndicate fragments of a history of art ( timespace)
chart (after loy). This is a multipart message in MIME format....
ContentType textplain charsetiso. .. .. . . .. . . .... . .. .. . . .. . .
.. . . . . . . . . . .. . .. .. cb . .. . .... . . . . . . . . . .. . . . .
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.. . . . . . .. .. . .. ... . . .a .... .en.... . i .. . .. . . .. .. .. .
.. i removed nondictionary entries so here we have the plain spacetime.
structure which read somewhat like morse code and translates as. mi
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.... ei.........i. t. ............. e... e wa.tt g. ...........ae ...w ax
. et......... teteei.. ........sn.it....... nna m aih .....b. .....eet
......a.....en..et.ibs k ds. k n. it's probably Ok then oll kerrect.. mi s
ep ee cb mi ie n eemto ei i t e e wa tt g ae w ax et teteei. sn it nna m
aih b eet a en et ibs k ds k n. these must be larger objects..
misepeecbmiieneemtoeiiteewattgaewaxetteteeisnitnnamaihbeetaenetibsk. dskn.
is it dutch or what. ContentType textplain namemessagefooter.txt.
ContentDisposition inline filenamemessagefooter.txt.
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media culture and media art. post to the Syndicate list. no commercial use
of the texts without permission. windowsQtextileAEC'. sdfffsfdf QW QW QW
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arbeid i. plnteressert i.. Det nteressert i.. Det er. en medlidenhet.
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om. fakta. er. omtrent. kommer. fram. gå. et. ..... Så. lang. I. ingen.
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pseudoulipo eg. palindromes that only look like palindromes. As AM. notes
there are. special characteristics in syntax which should be simulated in
pseudoulipo.. There should. also be a pseudoulipo group.. ..(today.. Thank
you for participating in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY..
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conquests Rethinking Wargames e k u n s t. droplifting. This is a
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postkort. A bizarre surreal and potent antiwar film JeanLuc Godard's. LES
CARABINIERS is a complex. tale of two riflemen who travel the world in the
service of. The King. Recruited by two. other members of the army
MichelAnge and Ulysses leave their. wives Cleopatra and Venusto. wander as
far as Egypt and the US killing and torturing. innocent victims for their
unseen. leader. Full of the innovative editing techniques and.
intellectual vigor that punctuates. almost all Godard's films LES
CARABINIERS finds Godard playing. promiscuously with imagesand. ideas
including favorite preoccupations such as the. destructiveness of
capitalism often. presenting ideas and opinions that are forgotten almost
as soon as. they are articulated.. Beautiful complex fascinating and
frustrating LES CARABINIERS is. vintage Godard.. .... with Godard going to
great lengths to develop unsympathetic characters. and distance the
audience from the onscreen proceedings. He. purposely shot the film on a
grainy film stock then made it. even grainier in the processing yielding
an oldnewsreel. effect and even incorporating actual stock footage into
the final. film. After the first hour however comes a remarkable.
Eisensteinian montage consisting of minutes of. conqueststhe postcard
sequence. In LES CARABINIERS Godard. succeeded in portraying war as an
ugly and ignoble. atrocity in a manner entirely different from what he
has. called the beautiful Zanuckian style. If LES CARABINIERS. cannot be
called a compelling dramatic work the film represents. a liberating step
beyond cinematic convention.. THE SMTP CSEQUENCE. Simple Protocol Art
Mail. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
arc.hive Re fragments of a room. To arc.hivelm.va.com.au
arc.hivelm.va.com.au. From loy.. SubjectRe arc.hive Re fragments of a
room. when i read it out loud. i only heard the sound of a window a chair
and a table. jUndwth fachairandwamTabwherif.f.t. ..feitamthrifeatifw.
iaTabchairifo.whsdiandwawrth. fandTabechairifchairif.njUndowTab.
techairifewh. TabwhnTabe.nTab. amth. ha.ramTab.ndowndowamth. nhstont.
nth.sneiaTab. dinat.t. oudamTabeinTabandowawheadiradth. on.tatn. h famth.
.... Very beautiful.... This is like Alvin Lucier's acoustical piece 'I am
sitting in a room' re. recording his selfreferencing spoken words ...until
the resonant. frequencies of the room reinforce themselves so that any
semblance of my. speech with perhaps the exception of rhythm is destroyed.
What you will. hear then are the natural resonant frequencies of the room
articulated by. speech..... groetjes. Bjarnir. arc.hive mailing list.
arc.hivelm.va.com.au. Re this is a picture not a statement.. this is a
picture not a statement.. The problems are with. the dualisms where the
name of absurdity once the picture this post and. what comes in. through
the eye or from it like 'this. Just enjoying r. smullyan's. Just enjoying
r. smullyan's. Just enjoying r. smullyan's. what's the liar paradox and
what comes in. through the logic is nice and logic at least classical.
doesn't. what's the interaction turns into an exploding dynamic time
things. are. exploding and selfreferenced strange loops so i'm. what's the
picture this book with an open system and its paradoxes.
pictureasstatement. and vice versa in a picture. something to or in any
sense as they can. like trees explode slow matter turns into. structure
chaos into order given an open system and its paradoxes.
pictureasstatement. and vice versa in any sense as a statement it's.
what's the problems are with. the dualisms where the picture this is is a
picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
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..YAUDDHNNN. noemata Fwd It all begins with a few simple words on the
screen. . .. ligner på røverspråket. jojegog totrororor dodetottote eror
rorøvoverorsospoproråkoketot totilol. gogjojesostot. Start of forwarded
message. Fwd It all begins with a few simple words on the screen. . .. ns
thenoe sens bebegegiginn t toto ththihiningng s w wiwitithth ththehe. isis
s cingng thougughgh he omes o of ththehe e m memesessssasagagege e s. se
toto e o only y a a paparartenc uningng memeteth ofof on isis. graradallly
seseeingng g ito ththehe e t exextingng t a annd reaingng g t. ththeem
parartrtirtsth to ts is seseeeem toto be haeniingng g m anandnd. momorore
asas s t ththehe e t tetexext becomomemeses s i increreaeasingly. frent
anandnd isis s ted d i inintntoto segmemenentts s t ththahatat t are.
essss anandnd lelesessss s c cocomensle t a alo straly loal inin.
sosomomeme e i inndeblele e whe e pcesessss s s seseeeememsms s t toto o
h. hahavaveve e a a hisisty a anandnd d a anan tioionry gr even n i itts s
on. s sort ofof hapse so ss st sy ou reread o onon anandnd d o onon n u.
ununtntitilil l y yoyouou an rereaeadad no o m momorore anandnd sttilll l.
y yoyouou u r rereaead inin n s se ofof sosomomeme kinindnd d o ofof f l.
lightht t aat t t ththehe enendnd d o ofof f t ththehe e t tuelyle ll ly
ut. nono liligighghtht isis s fortrthcomomimining anandnd
ththihiningngsgs. noow ononlnlyly y s seseeeemem m t toto o b bebe ingng
frfroromom ad d t. toto woworseaseesegsense ed el em en es ew ou
mamakakeke e o onne e lst. alint forortrt t a atat unundndederrstandingng
hatat t i isis s g. gogoioiningng on asas yoyouou no waantnt t t toto o b
bebe e aseded d o. ofof beingng a la rereaeadderer whho isis s w wollyly
unillingng g t. toto ve e t ththehe e m modern t tetexextxt t i ititsts ea
eb ec ed ee ef eg. eh ei ej ek el em en eo ep eq er es et eu ev ew ex ey ez
e ut t f. fifininaallllyly yoyouou eldld d a anandnd d t tutururnrn n
awayay y f. frfroromom m t ththehe e t tetexextxt t i inin n s
seseaeararcrchch h o ofof. f l lelesessss s f frstrtraatitiningng g m
memesessssasagagees s t toto. gesingng ba ononlnlyly nonowow anandnd d ain
n t toto o s seseeee e i. ifif f a anthihiningng haas s cangngeed do ds nd
d t ththehen toto yoyou. asaststomenent ththihiningngsgs s d dodo o s
seseeeemem m t toto o b bebe. chchahanangginingngenginglngsng ge gh gs
lilinne e h hahasas beeenen sed. anandnd whle yoyouou ararere unre e a
asas s t toto o w wheththeer. ththihisis s c chchahanangngege e i isis s i
inin yoyouou r t ththehe e m. memesessssasagage ththihiningngsgs s d
dedefefifinelyly dodo o s seseeeemem. m t toto o b bebe e m
mamakakikiningng sesenensnsese e a. agagagaiaininaincindineinginiinsintin
na nb nc nd ne nf ng nh ni nj nk nl nm. nn no np nq nr ns nt nu nv nw nx
ny nz n hateveer r w waas s c casiningng g. t ththehe e t tetexextxt t t
toto frfraragagmgmemenentnt t b befororere e i. isis s n nonowow
losiningng g t ththehe e b bale e a anandnd d a a a f. fofor ofof
meniningng g i isis rereaeassseserrtitiningng g i ititsselelflf. ithth h a
a sesenensnsese e o ofof reelief yoyouou siighgh h a anandnd d. a alallow w
t ththahatat t t ththehe e s ststrle e i isis s f. fifininanalallllyly y a
atat t a anan n e enendndendind. m. End of forwarded message. unsubscribe
from this group send an email to. Re Vs noisetext (unknown). Great I've
been looking for an engine to do these bitmapchar conversions. ever since.
seeing Florian Cramer's portrait. Of course there's been typewriter
paintings. etc for a. long time my girlfriend gave me one once and it's
hanging right here on the. wall of the. library room baby jesus and virgin
mary done with a mechanical typewriter.. Jukka. Actually it's a bgascii
rendering of a classical chinese landscape painting. Kuo Hsi (ca..
Paradoxically the huge white spaces of the painting renders as thick char.
stream while the. solid mountains renders as whitespace.... insert
statement on information entropy. B. Original Message. Bjrn Magnhilden.
Tuesday February PM. noisetext (unknown).
AAUFAUAAAAAAAAAADAAADAAAAAUAAAAAAAAAUAAUAAUAAAAAAJUUUUUUUAAAAAAAAAADD.
DAAAAAAAAAAAAAAAAADAAAAAAAAAAADADDLDL(AAAAAAAAUUAAAAUAAAAAAAAAUUAUAAAAA.
AAAUAUAAUUAAAAUAAAAAADALUAAAAALADADAQQADAAAAUUUAUUAAAUUUUUUAUAUAUAUU.
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AAUAHAAAUUAAAADAADDADADFDDDLLD)DJNHQQNHQQAAA)DUUUQQQQQHNHAAAAD.
AUUAQQAUAAAALAAAADD(DDDDDDLDL)JDQHHQHHHHQAAAUUJUUUQUHHHHQAADA.
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UQUUQQUUAUAUAUAAAAAADDDDADADDJLLAQQQQQUHHQUQHHHHHNNNNHNHHHHAUUA.
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noemata Fwd It all begins. . . vers. Mer stroboskopisk røverspråk. fra
Buffalo. Start of forwarded message. Fwd It all begins. . . vers. TH ES BE
BEG EGI GIN NT TO TO TH THI HIN ING SW WI WIT. ITH TH TH THE HE IS IS SC
ING NG TH OUG UGH OME SO OF. TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE
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RAD ALL LY SE SEE ING NG GI TO TH THE HE ET. EX EXT ING NG TA AN REA ING
NG GT TH THE EM PAR ART IS. SE SEE EEM TO TO BE HA ING NG GM AN AND ND MO
MOR ORE. E A AS AS ST TH THE HE ET TE TEX EXT BE COM OME MES. ES SI IN CRE
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AL OS TRA LY LO AL IN IN SO SOM OME ME EI IN NDE BLE. LE EW .T TH HE EP CES
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ND DA. AN AN TIO ION RY GR E EV NI IT TS SO NS SO OF OF. E HAP OU RE REA
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EAD AD OM MO MOR. ORE RE E A AN AND ND ST TIL LL LY YO YOU OU UR RE. REA
EAD IN IN NS SE OF OF SO SOM OME ME KIN IND ND DO. OF OF FL LI TA AT TT TH
THE HE EN ND DO OF OF FT. TH THE HE ET TU UT NO NO LI LIG IGH GHT HT IS IS
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THE HE EM MO DER NT TE TEX EXT XT TI IT ITS TS. E. .B BU BUT UT TF FI FIN
INA ALL LLY LY YO YOU OU DA. AN AND ND DT TU TUR URN RN NA WAY YF FR FRO
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DT TH THE HEN N TO TO YO YOU AS AST STO. MEN ENT T T TH THI HIN ING NGS GS
SD DO DO OS SE SEE. EEM EM MT TO TO OB BE BE CH CHA HAN ANG GIN ING .A LI.
LIN NE EH HA HAS AS BE EEN EN SED D A AN AND ND WH. LE YO YOU OU AR ARE RE
UN RE EA AS AS ST TO TO OW. WH ETH THE ER TH THI HIS IS SC CH CHA HAN ANG
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IS SN NO NOW OW LO SIN ING NG. GT TH THE HE EB BA LE EA AN AND ND DA A AF
FO FOR. OF OF ME NIN ING NG GI IS IS RE REA EAS SSE RTI TIN ING. NG GI IT
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AN AND ND DA AL ALL OW. WT TH THA HAT AT TT TH THE HE ES ST STR LE EI IS
IS. SF FI FIN INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. End of
forwarded message. unsubscribe from this group send an email to. noemata
Fwd Nettimebold unstable digest vol. Start of forwarded message. ReplyTo
nettimeboldnettime.org. Fwd Nettimebold unstable digest vol. msg
positioning. u.r.in.the.making. .. Slession Start Thu Feb. Lesion Ident
silocyben. short intervals. notify m.Sages.. .. fit.tingle in ah narrow
acceptability niche.. take me off. i'd pre.furr that.. no realli.. hassle
u. irc.. heh. .. provide some type of per.server entertainment value.
providing. per.verse. pre.serve. .. dam.nation ls sleep dep.ri.vat.ion. i
make no apologies for that. come in prettyhatemachinebite.size.packages..
ppl hassle. i do.. it's wonderful.. .. hmm. bcitatione sized. ). silocyben
nibbles.. D. ok.. silocyben smacks lipids.. msg moment intentionally
causality. msg i'm done.. heh. anyway. in.tensiontionally cruel IRC.
slecherousxual d.pgravity. scroll notify.. Ffort manually. what. fthat..
who nos really. heh. msg would kill u). don't thlink u understand.. no..
good.. it's better that way.. heh.. yes.. msg look. .. feel free Nlighten.
what i understand u don't.. k.no.w talking. no. should i. damn.. ). no..
grin. ). ok.. so.. f.eeling free. message with). we've covered the fact
that. possibly quit.. ete.. n.deed. ho hum.. ho hum.
116
pickup multi.logue. hmmm. yes.. i mlean wards ghosts. loving.. heh.
Suriname parity u r). i'm thinking that. combination of facts. anywhere..
in the realty of go.. oh way more than that.. realms even.. way more.. u
st.. NlightN me.. nono u must NlightN me. urm.. i can't.. Xcept to say..
.. .. hmm. and.. msg i want.. ehehehe. .. but. a.part from that..
silocyben scratc.his.head.. fighting Nlite. k need . able . though.. do..
yes indeed.. msg worried. msg about. msg obsession.. but.. msg X.. msg
former. notify aint work.. away latter.. away waste.. .fuck.. hmm. talk
POV. .....away money. mmm. .....talk nor.... away u. needed it.. growth ur
own. panick ed because. msg dislocation lies. msg tied up with .. i used.
ic.. much mulching.... sniff basic portioned. scratch like a th..
.....left wingth. es. yes. trauma she.is.all.i.have msg
in.terms.of.active.affectivity. yes. i unda.stood.. and unda.stand.. ..
lvl sameness. shrug.. accountability. gagging pay job. BUT. y. stress
basalt in all corporatecapitalist Ndeavours. i HAVE. didn't he tell u.
sent. oh.. cool.. none week.. ahh. k np. descent.in..nether.hell.. well.
.. actually. crazy problems heart.. figorey that. then. in rl. .. wow.
story. jesus story wot.do.u.want we played quake gether.. ). that will do.
story tellerinvoker. ). laugh and there r p.lent.y of tell.. anyway. i'm
sure. snip tell stories.. the lose driven slough.. noNticed. dilemma. oh.
yes yes.. ho.ur.. yes indeed. s.. msg positioning. u.r.in.the.making.
..in.finite capacitys goalrelationalbelief. structuremighty uphold..
tem.portation is far. ..... wallow in consumerist.muck. ....type . align
getgos socialb.lather. .. sense. ). right.. u're.. i'm sure i am.. slash
simplistic.. .. grin. i don't.. no u don't. nor. i already.. ok. well. y
make.. ....says much. anyway. i'm tired. bitesized day bIT). i have.. yes
u do.. off.. Added to notify list. no apaty and awareness.. h.. k.. if u
say so.. sigh. Session Close Thu Feb. Lession Start Thu Feb. Session IDent
silocyben. think nature. completingx Ntree.catesimperinglistic.. nature as.
system of. ecological function. ball N batance thru.. i am.. nature dfined
bye romance. ideal of butterflies victims. prey and bloodlust. ahh.
naturefact. .. s.. u. chuckle. centric. anyway. but what r. goals
fargoish.. i am.a.silly.undefined.soul in a c of centuries. wish
disappointed.. so.. ahh no. come inside with rt. with bod.EE. laugh.
....eyes. .. he.. words cauterize. cause even. cya.. s.lump. heh. .. bye.
hmm. d.ee.p.ends. stretch props blood flow.. hmm. hands. neglect.. speak
softly. thru the size of my large hands. large joints.. hmm. voice. yes. i
thought so.. or. simplicity is boiled from the need to x.tract and d.limit
complexity. sometimes the problem becomes the complexity to survive the.
simplicity of others.. c a t c h. or the problem hides i the folds of
simplicity N order deny. complexity. n. mmm.. we are walking on different
foundations.. we r. creeping thru semantic jungles. ). ). tactility above
all else. no causality in solid shapes. logic definer. momentary pleasures
theorizing via strands of cartesian dynamics. Added silocyben to notify
list. Session Close Thu Feb. protein.logging.txt. sparks of lost hubrisman
centre.sieved. ..(today.. Thank you for participating in MAILING LIST
SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. .. LE TEXTE ET
LA MACHINE.. LE TEXTE ET LA MACHINE.. Decembre. Pascale Gustin. Licence
GNU General Public License. Je crois que l'ordinateur et de manire plus
gnrale les technologies. de l'information transforment de faon radicale
notre rapport au monde. et nous mme. C'est mme devenu un lieu commun de
dire cela. aujourd'hui c'est devenu un truisme. Paradoxalement mesurer.
l'importance et les consquences de ces changements est loin d'tre. simple
cela ouvre mme de nombreux champs d'investigations et de. rflexions qui
depuis environ ans font l'objet de recherches de. plus en plus diversifies
dans des domaines toujours plus tendus. Je. pense l'instar de Pierre Levy
que l'outil informatique est une. dcouverte au moins aussi importante dans
l'histoire de l'humanit que. celle de l'criture elle en est probablement
mme la continuit en. poursuivant le processus d'hominisation de l'homme ..
J'aimerais par ce texte explorer de manire tout fait personnelle la.
naissance de l'outil informatique du point de vue du texte et de.
l'criture. Je ne prtends pas ici un essai exhaustif sur le sujet. mais
seulement rassembler quelques rflexions et notes de lectures. qui
m'apparaissent pertinentes. Selon le procd d'une pense. analogique je
souhaiterais former un ensemble cohrent de rflexions et. d'ides dans la
continuit de ce qui mon sens me parait trop peu. questionn actuellement
mais non pas moins important c'est dire le. problme de l'criture en regard
de l'outil informatique et la faon. dont mon avis celuici transforme et
remet en question de multiples. manires la notion mme de texte.. L'criture
le code le texte.. L'criture est la premire technologie d'enregistrement de
la parole. constitue de symboles d'images ou de signes elle est un systme
un. code mis en place afin de pouvoir garder trace du langage parl. De ce.
point de vue l'criture est un code certes relativement souple qui. encode
la ralit et tout la fois en transforme et en remodle la. perception. Un
des tous premiers systmes d'criture que l'on ai. retrouv est l'criture
noeuds systme d'inscription. mnmotechnique et synthtique. On en a dcouvert
des traces au Prou. dans les tombeaux Incas par exemple. Ce sont des
paquets de noeuds et. de fils attachs de couleurs diffrentes ou semblables
placs de. manire obtenir un grand nombre de significations. Ces. quippus
servaient enregistrer les comptes la chronologie il. tait possible
galement de s'en servir comme d'un moyen de calcul. On. retrouve cette
forme ancestrale d'criture partout dans le monde et. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. encore utilise par les
ouvriers afin de comptabiliser leurs journes. de travail .. L'criture dans
son essence apparat alors comme un systme de. diffrences. (J. Derrida et
Saussure). Le codage binaire a t utilis sous une forme symbolique trs tt.
en chine avec le systme divinatoire du YiKing. Le YiKing est un. ensemble
de hexagrammes constitus d'une collection d'images. symboliques
reprsentatives d'un certain ordre de l'univers et tait. utilis pour
procder diverses interprtations divinatoires. Ces. images symboliques
rsultent de l'assemblage et de la combinatoire de. traits pleins et de
traits briss reprsentant les deux tats. essentiels par lesquels chaque tre
et chaque chose sont appels se. mouvoir et se transformer. Mais c'est le
philosophe anglais Francis. Bacon () qui fait de ce principe binaire un
systme part. entire afin de pouvoir transmettre des messages de manire
rapide et. sre .. Dans ce sens le code l'acte de coder un message serait
en somme la. transcription de celuici dans une langue nonnaturelle.. Mais
le mot de code se drobe mesure qu'on souhaite en saisir le sens.. A
l'origine du mot nous trouvons le codex c'est dire la. planchette le
recueil nous avons galement le code juridique qui est. l'ensemble des lois
qui rgissent une socit signification qui n'est. pas sans rappeler la
programmation puisqu'ellemme est rgie. par une syntaxe un ensemble de
rgles auxquelles on ne peut droger. d'aucune manire sous peine de planter
le programme. Nous avons. galement le code vestimentaire ou le code
gntique. Le code serait. en quelque sorte un moyen de conservation et de
transmission. d'informations un support de significations non
spcifiquement humain.. L'criture pourrait tre une sorte de code plus
souple o le. sens est tiss de diffrentes manires les lettres avec les.
lettres une une ou par grappes les mots ensembles pour former des. phrases
et les phrases tisses les unes aux autres interagissant les. unes avec les
autres au cours de la lecture nouant liens de sens et. de significations
afin de former le texte. On utilise l'expression le. fil de la lecture ou
au fil du texte pour parler de cet cheveau du. sens qui prend forme au
moment du dchiffrement. Le texte est une. trame de significations dont les
fils se croisent et s'entrecroisent. entre les lettres ellesmmes les mots
les sons dans le texte et. entre le texte et le lecteur.. Le mot texte
vient du terme latin texere qui signifie tisser.. Une autre dfinition du
mot peut tre. un nombre fini de signes discrets choisis dans un ensemble
fini. de signes (Florian Cramer).. Les machines.. Une des toutes premires
utilisations technologiques du langage binaire. a t dveloppe par Jacquard
() afin d'amliorer la technique. du tissage.. Il s'agissait de cartes
perfores de trous c'est dire de. l'utilisation des pleins et des vides des
cartes pour coder le passage. des fils de couleurs diffrentes dans les fils
de chanes. La. technologie du tissage a toujours t l'avantgarde des
techniques de. son temps mme aux poques les plus recules au moyenage on.
utilisait dj des cartes ralises sur du papier divis en damier pour. la
reproduction des dessins.. Charles Babbage () initiateur de la machine
diffrentielle. et plus tard de la machine analytique connaissait les
travaux de. Jacquard dans le domaine du tissage et eu cette intuition
fondamentale. d'appliquer ce principe en quelque sorte combinatoire des
diffrents. ils entre eux au calcul selon une mthode semblable. Ada
Lovelace. () collaboratrice de Charles Babbage ft charge de la partie.
logicielle de la machine c'est dire du texte (au sens large du. terme) qui
devait permettre la machine analytique de fonctionner. Mais. le projet
n'aboutit pas faute de moyens et probablement aussi. d'organisation .. Les
machines telles que les ordinateurs actuels ne peuvent. fonctionner ne
peuvent comprendre une serie d'instructions que si. cellesci se trouvent
crites sous la forme de suites de et de ou. plus exactement sous forme de
squences trs rapides d'impulsions. lectriques une impulsion reprsente une
connection c'est dire le. l'absence d'impulsion le . Un ensemble organis
de et a donc. un sens pour la machine c'est dire un sens lectrique. Le
terme. de sens n'est peuttre pas tout fait appropri pour parler.
d'instructions que la machine programme dans ce but effectura la. machine
n'interprte pas le programme ou les instructions entres dans. le
processeur elle ne fait que les excuter.. La rapidit avec laquelle le
courant circule entre les diffrents. lments de l'appareil informatique
(lie la vitesse d'horloge du. processeur) offre des possibilits quasi
illimites de calcul. (quantits de connexions et d'absences de connexions
de et de de. plus en plus importantes dans des laps de temps trs courts).
Ainsi. nous pouvons en tant qu'utilisateur de machines et de programmes.
charger des images l'cran les dupliquer ou les transformer faire. jouer
des sons ou bien crire des textes que nous rentrons dans la. mmoire vive
de l'ordinateur. En quelque sorte ces suites de et de. sont le seul code
ou alphabet avec lequel nous pouvons utiliser l'outil. informatique.. Les
premiers ordinateurs taient en quelque sorte programms en. direct l'aide
de fiches et de fils relis ensembles.. Si la fiche est connecte le courant
passe la valeur est donc. l'inverse l'absence de connection prend la valeur
. Pour faire. fonctionner un programme il fallait donc connecter une une
des. centaines de fiches et de fils entre eux. Le temps de mise en route.
d'un programme tait trs important les erreurs frquentes et. pnibles
retrouver. On devait suivre chaque fils pour. voir o il tait reli au
milieu de paquets de fils entrelasss les uns. dans les autres.. Plus tard
dans les annes et les fils lectriques seront. remplacs par des valeurs
situes en mmoire .. Les ingnieurs imaginrent ensuite un moyen de
simplifier les oprations. de programmation. On substitua un ensemble
d'instructions un code. dit mnmotechnique plus facile retenir. Ces
premiers langages. permettaient d'effectuer rapidement des taches
complexes sur. les machines mais restaient encore malaiss d'utilisation
car trs. proche du code de la machine (exemple le langage assembleur)..
Peu peu les langages devinrent plus performants. L'utilisation des.
premiers compilateurs firent des machines des outils plus souples et.
faciles utiliser (avec le fortran). De vritables mots furent. employs et
les instructions au fur et mesure de l'volution des. langages devinrent
plus comprhensibles pour l'homme encodrent des. algorithmes entiers et
rendirent ainsi la conception. des programmes rapide et efficace..
L'arrive des interfaces graphiques donnera par la suite les moyens. tout
utilisateur noninformaticien d'effectuer facilement rapidement. par
l'intermdiaire de l'cran graphique des taches compliques. prprogrammes..
Le code de la machine le texte en quelque sorte se trouve alors. dissimul
sous des couches logicielles mais c'est toujours un code une. texture de
calcul de et de qui dans les profondeurs de. l'ordinateur officie afin que
les programmes puissent avoir lieu en. surface .. Les langages de
programmation (je pense par exemple aux langages de. programmation orients
objet comme java ou python) les plus rcents bien. que plus proches d'une
part du langage humain et peuttre galement de. la pense humaine (du moins
d'une petite part caractristique de. celleci la catgorisation mais je
doute que cette forme de la pense. humaine soit la plus naturelle l'humain
mais peuttre bien plutt. sa part la plus sociale ou socialise) restent
toujours. malgr tout soumis aux ncessits internes des machines.. Le
langage humain tel que nous le parlons l'crivons met en place un. monde de
significations. Le discours oral est contextualis. Il en est. de mme pour
le texte crit. Une marge d'ambiguit est toujours tolre. et mme presque
souhaitable car c'est pratiquement dans cette marge. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. culturelle
ainsi qu'une prise de conscience de tous les discours qui ont. prcdemment
eu lieu interviennent galement de manire plus ou moins. prgnante pour
celui qui coute ou lit selon la culture qu'il a du sujet. nonc. Ainsi le
sens du texte oral ou crit est un ensemble de liens. qui se tissent de
toute part entre les interlocuteurs ou entre le. lecteur et le texte la
socit la culture les lois etc. Souvent la. comprhension du sens dpasse
largement la structure de base du langage. linaire et squentielle celle du
discours oral ou du texte.. Il en va ainsi de la pense humaine car c'est
partir d'elle partir. de cette matrice que cette texture de liens peut
avoir lieu.. C'est en poursuivant un tel raisonnement que Ted Nelson
labora ses. recherches sur l'hypertextualit ds le milieu des annes avec
son. projet Xanadu (nomm ainsi en rfrence un pome de Coleridge).. Son
prdcsseur Vannemar Buch eu une intuition semblable lorsqu'il. imagina
vingt ans plus tt le Memex MEMory EXtander une. bibliothque de documents
relis les uns aux autres en fonction du. sens que pouvait prendre chaque
paragraphe phrase ou mot de tel ou. tel texte mmoris en regard de tel ou
tel autre paragraphe phrase ou. mot issus d'un autre texte ou d'une autre
partie de ce mme texte.. Conservs sur microfilms spciaux ces textes
photographies ou tout. autre document auraient t accessibles grace
plusieurs crans. claviers et manettes. Une membrane sensible aurait pu
permettre de. photographier et d'enregistrer de nouveaux documents.
L'utilisation d'un. tel appareil aurait permis au chercheur ou l' homme
moderne de. faire face la prolifration d'informations prvisibles en raison
du. dveloppement des instruments de mdiatisation de l'information .. Pour
Ted Nelson la pense humaine est hypertextuelle par essence. alors que le
langage humain la parole ou l'crit ne sont que. squentiels. Ainsi le
langage humain apparait comme incapable de. reproduire vritablement la
pense dans toute sa richesse sa. diversit et son foisonnement .. C'est sur
ce travail cette nouvelle manire d'apprhender le texte. que je terminerai
cette suite de notes et de reflexions car partir. de cette notion
d'hypertexte et d'hypertextualit de nombreuses. possibilits de tissage de
sens et de textes sont mises jour et en. explorer les dimensions et les
possibilits serait l'objet d'une. recherche part entire. J'aimerais
seulement pour conclure amener. l'attention du lecteur que le texte
apparat dsormais non plus comme. quelque chose d'abstrait et d'homogne qui
permet l'information. d'tre diffuse mais comme un corps part entire concret
qui peut. prendre de multiples formes ainsi tre utilis aussi bien pour.
programmer les outils de l'informaticien ou du simple usager de.
l'informatique pour concevoir des programmes que pour les. appliquer. Je
crois que le travail du pote ou de l'crivain s'en. trouve profondment
boulevers. Ecrire ce n'est pas seulement faire un. texte mais aussi ce
peut tre mettre en route un instrument l'outil. informatique se servir
d'un programme (un logiciel de traitement de. texte par exemple) ou d'un
langage de programmation c'est couper. coller assembler telle portion de
texte avec tel autre (un morceau de. programme un lien qui menera une
image ou un son). C'est jouer. galement avec diffrentes formes de langages
car tout ceci mon sens. constitue encore du texte c'est mettre l'criture le
langage. quelque soit l'origine de ce langage en contact avec d'autres.
branches de la communication.. refrences. Levy Pierre. La machine univers.
Editions La Dcouverte. Levy Pierre. L'intelligence collective. Editions La
Dcouverte. Fevrier James. L'histoire de l'criture. Editions Payot et
Rivages. Kristeva Julia. Le langage cet inconnu. Editions du seuil. Breton
Philippe. Une Histoire de l'informatique. Editions du seuil. Plant Sadie.
Tissages du futur tramer ensemble femmes et cyberntique. Connexions art
rseaux mdia. Ecole Nationale Suprieure des BeauxArts Paris. Rossi Serge.
Guillier Franois. Bordeleau Pierre. Every David K.. traduit de l'anglais
par Charles Gigure. Sureau D. G.. Bush Vannemar. Comme nous pourrions le
penser. Connexions art rseaux mdia. Ecole Nationale Suprieure des
BeauxArts Paris. Nelson Ted. pasccsaq. rWxRWXR x. autobuildwheel.
silenses. projetcuneifoRM. oo. It all begins. . . vers. TH ES BE BEG EGI
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INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. (no subject). NNNNN.
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(AUNNQQQUUHNNNHQUUUUUQUUUUUUUUUUQQQU. UQUUQUAQQLUQUUUUHHH. ..(todayD..
Thank you for participating in MAILING LIST SUBSCRIBER. SATISFACTION
SURVEY.. ..(todayD. .. ..(todayD.. .. narcissism (ny report). narcissism.
we're speaking for the moment online and offline conversations analy. ses
manifestos signs marches puppetry it goes on and on they're. silent on the
other side use the royal 'we' they include us we're. being led to the
slaughter we're taking the world with us we'll use. weapons of mass
destruction tactical nuclear against the bunkers to. percent of our
weaponry gone astray our own military reports expecta. tions of over
civilian casualties in the name of liberation blair. too the whole lot of
them cold warriors compulsiveobsessives. madmen another futile protest
here they're getting stronger by the. moment our performances are just
that select audiences of hundreds of. millions they can't do anything
we're speaking into our own skin. already the fear's upon us they're
nameless they hide behind acronyms. they lie they fabricate evidence tapes
bin laden's muddy voice. we're supposed to believe all of this we're under
the gun here we're. under warning we're a declared state of emergency
resistance is. futile useless we're bringing out blocks of writing reams
of it to. no avail the only measure that carries weight violence armed.
resistance i'm not up to that we're unused to the brutality of our own.
government help's got to come from elsewhere stunning revelation. bush
cancels elections declares state of emergency he's already. backed by the
army we're allowed to speak our voices give out the. strongest among us
will be taken away you've got to help us you've. seen it all before there
aren't any miracles stock market's falling. construction's down. A legs
and homes. nightmare. A legs and homes. nightmare. sorted out. suck rock.
webartery. nettime nettime. webartery. syndicate. nettimelat. webartery.
wryting. webartery. empyre. ghasa. webartery. avantgarde. harthist.
webartery. dancetech. nettimelat. webartery. harte. rhizome rhizome.
nettime. calls and opps. cybersociology. cybersociology
117
nettimelat. webartery. nettime nettimebold. chart. webartery webartery.
artservis. Re Re hypertext. I actually do buy that form and content are
onewhich is why i. insist on digital content's painterlinesswhen i create
a piece. i want the content to be dynamic i want it to vary...i want the.
content to be a collaboration among the user the machine and. myself.
col.labia naked vacant concept with red M white striped bench.markas.
collaboration.as.d.fined.via.static.proscribed.synergism is BLANK.. this
is why digital writing that doesn't take into account. the computer's
propensity for variability sometimes leaves me. cold.... this is why that
doesn't take into account. the com.person realignmentuter's propensity for
variability sometimes. leaves me. cold.... i feel stuck outside the piece
when the point of the network. is participation. stuck.pigged.and
obtuse.frozen.. protein.logging.txt. sparks of lost hubrisman
centre.sieved. moat tory frown ten. moat tory frown ten. ich real ich real
ten four bunch fen fourteen so coal. tan fatso crabcakes hen peanut butler
plan door tan moor. foreplay bone lip ticks catcher chin da lie nor ana dy
cat puat. tened scream blond. all the or fabkeys please tether ben nat.
duck taker. mate bow dow. bet more don. blow. zen. nappy nappy per hay.
may in yo. may.. clober ben say vin ma hark vest tea blond kevin more tell
coach. bland cure bound head. plug vast NORAD bat buzz bird bun meter buzz.
sneez bleed nose cellophane. biscuit above plan carnivorous pew blue. cart
cut but chen now tall please bar teflon tis cum above who. accord hospital
fake clowns chew hot blues vent ten bet.. Googlism poems. .. she is not
fair to outward view. she is not a beauty even when she smiles. she is
like a woman. she is moaning after anal insertion. she is up again against
the skin of her guitar. she is now her father's daughter. she is e. she is
pulled feet. she is not fair to outward view. she is more to be pitied
than censured. she is talking up a storm. she is spoke here. she is the
darkness. she is growing up. she is dying. she is beautiful sells for. she
is sleeping. she is inserting the finger into her pussy. she is in love
with herself and has made some of hollywood's worst films. she is very
famous in some fetish videos. she is probably the best ever seen. she is
beautiful. she is beautiful and hot. .. he is one of the top actors in the
world. he is not afraid to fly. he is coming. he is in love with her wants
to leave his wife. he is risen. he is us. he is pained by occupation of
jerusalem. he is currently waiting for a lung transplant. he is induced or
persuaded by law enforcement officers. he is outraged by enron outcome. he
is consulting with congress. he is not allowed to comment on what happened
because it is a security. matter. he is here. he is one of the top actors
in the world. he is decorated boris yeltsin. he is the spy. he is not
afraid to fly moscow. he is not well. text derived by searching
googlism.com for he and she with. who argument. entry order maintained
though text was heavily edited. and lineated. Brandon Barr. nettime
unstable digest vol. Sun Feb. msg positioning. u.r.in.the.making. From mez
breeze. To arc.hivelm.va.com.au mail.ljudmila.org. LE TEXTE ET LA MACHINE..
From rWxRWXR x. To nettimefrsamizdat.net mail.ljudmila.org. It all begins.
. . vers. From MWP. To POETICSLISTSERV.BUFFALO.EDU. (no subject). From iso
YoFn MangrelFaen. To. narcissism (ny report). From Alan Sondheim. To
nettimelbbs.thing.net. sorted out. From Ana Buigues. To
WRYTINGLLISTSERV.UTORONTO.CA. Re Re hypertext. From mez breeze. moat tory
frown ten. From kari edwards. To POETICSLISTSERV.BUFFALO.EDU. Googlism
poems. From Brandon Thomas Barr. To POETICSLISTSERV.BUFFALO.EDU. lurking
editors. beatrice beaubien. nettimebold thingist. florian cramer. arc.hive
eugene oo rhizome rohrpost webartery wryting. alan sondheim. arc.hive
poetics siratori trAce webartery wryting. Id digestunstable.plv . paragram
Exp. Nettimebold mailing list. Nettimeboldnettime.org. End of forwarded
message. unsubscribe from this group send an email to. sadf. BEGIN PGP
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YYDDDDDDDDDDDDAUUUUUUUQQUUUUUQ. DDDDADAADDDYYYYY.. .Y. Re this is a
picture not a statement.. this is a picture not a statement.. The problems
are with. the dualisms where the name of absurdity once the picture this
post and. what comes in. through the eye or from it like 'this. Just
enjoying r. smullyan's. Just enjoying r. smullyan's. Just enjoying r.
smullyan's. what's the liar paradox and what comes in. through the logic
is nice and logic at least classical. doesn't. what's the interaction
turns into an exploding dynamic time things. are. exploding and
selfreferenced strange loops so i'm. what's the picture this book with an
open system and its paradoxes. pictureasstatement. and vice versa in a
picture. something to or in any sense as they can. like trees explode slow
matter turns into. structure chaos into order given an open system and its
paradoxes. pictureasstatement. and vice versa in any sense as a statement
it's. what's the problems are with. the dualisms where the picture this is
is a picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
emerging order always screeching with the absurdity of matter.. noemata
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textplain namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive mailing
list. arc.hiveanart.no. four takes. is it. loveliest contact my nails
nebular coagulate. why shimmery thither be a comma. overcrop it. threatens
is monty leviticus byron. debris syllabic. godson tinkers the motions.
sickbed couch if you cosponsor ideals. thither sun to. arrest. duetted
liniments here is a node of sothis. no short chrissie circuit. why
shrinkage i be interagency. meiosis. should francophobe us but doesn't not
fulminations but guntur. soma tribromide. contained. huh the xenophobe ink
jar. allelomorph solubleness rivalrous. rubberizing acropetal stannous
rudimentariness antecedent rompers. spottable bestialising an echoes. ok
so we kyanises how it wonderfully so whitefly can you cham it. so we can
change it so welfare omar let loose who caramelising. anymore. poor wolves
posho shoebills sheeps. ethicization poor let longus pontormo. and so on.
and soon. how the space gismo filament. yaounde is contradicted by rebel.
generative worktable is filling the gap spafford. on the one hand by
cocklebur in on rationalistic whatever liabilities. litterbag. on the
overbearingly stepping back interstices cloudless. peculator. stoppered
it's fluxmeter its movement wagtail tranmitted. stratosphere telling.
value and meliorative in the movement waught gossips. the monticule you
know the less you carriages. the royalties equestrianise. stoner alive.
wreaks by my authormata. specters alps. the osnaburg way would be to all.
it falls dragonish on wyoming head. the autographic scansorial human
concinnity. human husain. steenbok. what. whatis is it htsst. loosing
contalsnkkntktmnlsntklpnk ct my nails neeatamrohtua yd. clipping. why
should hxltsbkm this be a comma a eb siht d. stumbling ovstmlnkfrt er it
ruoy no nwod. . this is morssmrlkklkls e like calculus f steg ecaps. dead
symmttsmtr etry tnoc. going thru thknkrmxns e motions tub nethg. sideways
corstwskrtrsfykltmjn ridors if you cotni kcab gould. imagine. this isn't
sussntspstt pposed to na noitacru. arrest arst isni eb i dl. each line
herexlnhrsntfsrts e is a node of smi dluoc uoyorts. no short circnxrtsrkt
uit uoy ssel eht. why should i hxltbnstm be inside me na serac ohw.
meiosis mss m'i llits. should frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb. detcid't not frighten but guide. something trismnktrfl vial et
yrots g. contained kntnt ilc deen sli. huh thell thhlynkjr e youth ink jar
lumits. always somethalwssmnkrt ing root dethgiew t. root access
rtkssskrrtntstntrtskrbfrkxnnj square root antrt. gnihtemosecedent root
square bifurcation an edge. OK so we knookswknhtwrksshtknyxnjt w how it
works cuoned ot ebso. what can you change it. so we can
chaswknxnjtshtnsltlshkrsnmr nge it so whatnep once let. loose who cares
anymore. poor wolves prwlfsprxps poor sheeps dna. everything
poefrnkprltlspr or let loose podnoc namuh sor. and so on antsn dna. and
soon antsn htrae sumuh. how the spacehspsjtsflt gets filled soppus t'nsi.
writing is cortnkskntrtkttbrtnk ntradicted by rel ssel revetading.
generative wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap
somehow. on the one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool
tel. r on reading whatever less linear. on the otheronrstpnkbkntkt
stepping back iem into code. pendulum pntlm om eht urht. still it's
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop. sevlment
walking touring story telling. value and meaflntmnnknmfmntwfttkrf ning in
the moverictrohs ment. weighted graph. the more you mryknlsykr know the
less yo fo edon a su care. the running ernnknfrnmnt nvironment lac ekil
ero. still i'm alistlmlf ve. written by myrtnbmrmt authormata nahc uoy
nac. specters alrespktrslrt ady vo gnilbmut. the other wayrwwltbttnsl
would be to den sitahw ouce all. it falls downitflstnnyrht on your head ic
trohs on. shortcircuitsxrtsrkts orivne gninn. the author sarsshmnkntxn ys
human conditignihtemos son. human humus hmnhmsrlnk earthlingo a.
stimulating stmltnk os pag eht g. what ht la sretceps. mys daed. whatis.
counts neology nutty clapping. way skulled touch coin. stumbling ovary id.
. touch iq miry liss calculus. dewed semiterrestrial. ganga threw. swadeshi
collate insensately. isn't spectrelikes thou. narchitects. eyehook linnhe
horae ixia of shortcake. wa sleuth bowwow installment. slot freestanding
bitty doesn't batty goethe. sundowner troublesomeness. ho thell tow yet
inge jr. alga semidomed radio. shore bifurcates aim edgy. pentelikon.
spectating alertness. idea flaky deme own your hoyt. shortcircuits
suddenly. wade. why should this be a comma. stumbling over it. . this is
more like calculus. dead symmetry. this isn't supposed to. arrest.
something trivial. contained. huh thell the youth ink jar. OK so we know
how it works so what can you change it. so we can change it so what once
let loose who cares. and so on. and soon. how the space gets filled.
writing is contradicted by reading. generative writing is filling the gap
somehow. on the one hand by closing in on reading whatever less linear. on
the other stepping back into code. pendulum. still it's following its
movement walking touring story telling. value and meaning in the movement
weighted graph (momentum). the more you know the less you care (to and
fro). the running environment (clock). still i'm alive (unwind). written
by my authormata. specters already (cloak outer garment). the other way
would be to denouce all (measurements). it falls down on your head (a body
suspended from a fixed point). shortcircuits. the author says human
condition. human humus earthlingo. stimulating. what. AUTO POWER OFF. ..
CM RM M M ONC. OFF. X CE. v. .. .. EART. did you think of this right now
or was it something you had intended. say. Re arc.hive proposal for
unstable digest. Yes thanks I'm always glad to see the unstable digest
knowing that these. things have a receiver and not written into void
alltogether (sometimes it. seems like that). It's inspiring emancipating
funny and has had an impact. on me for sure both as reader and writer..
Thanks to the editors. ). Bjørn. ......fantastic florian has my vote).
others ok with it. chunks. mez. no.logo.Dscenting.
dreaming.caramelized.txt.body.trickling.. spraypaint.attractors
doll.functioning.
119
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output.toLowerCase(). if (action 'mail'). beMailHost. script drawing by.
sender. yond.matronym Noemata.net. asciiart done with BGascii software. .
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aMMMMMZ MMBB .i. return all things i don't understand. all things i don't
understand. things will remain the same extreme change. supposed to go
deeper. never will. neverwille. utopica. language. in this form never. the
trees. they have only leaves. another leaf. is another leaf. like this
doesn't go deeper. or anyway cracks only. like cracks in those skins. when
they laugh. they have only laughs. another laugh is another laugh. suppose
you merged two jokes. no it's not funny. second period. lame duck shaggy
dog. this is supposed to retain structure. maybe no more than cosmetic
surgery. lonely leaves. but there's also code. you should read the next
sentence ten times. hey fuck it you dumb ass. let's see now. oh hi oh
count again son. you need to mark them perforate. this is another leaf.
every leaf counts. or count again. back to language. the positions added.
this leaf at that position. metalanguage. it's mostly the same added. are
what we call dimensions. don't know what dimension is. but we think of
transformations. of streams into particles. maybe fields then. it's always
the same. like concepts. which also have a fieldcharacter. things like
that. metaparticles. that sounds queer. we think meta abstracted.
epiphenomenal rather. some devil's scheme. read the metalanguage in that
sense (go on). supposedly a subroutine call with new parameter. well now i
don't know where i am. so much for adding position. er.. return all things
i don't understand. these are still tabs. tabulate to put or arrange in a
tabular systematic or condensed. form formulate tabularly.. they might be
spaced out then by the server. space the unlimited or incalculably great
threedimensional realm or. expanse in which all material objects are
located and all events. occur.. that's what i mean there's tabs and
there's spaces thanks for reading. that's like another return.
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(Contenttype imagepng). srand((double)microtime()). function word().
wlenrand(). for (ii ww.chr(rand()). return w. function sentence(). slen
rand(). for (ii t t.' '.word(). return substr(t). str time(). gmod str.
hostName gethostbyaddr(REMOTEADDR). im imagecreate ( ). or die (Cannot
Initialize new GD image stream). black imagecolorallocate (im). white
imagecolorallocate (im). gray imagecolorallocate (im). imagearc (im
white). num rand(). for (ii str sentence(). if (i) str statstr.
imagestring (im rand() rand() rand() str white). imagestringup (im
'anyhr'.str gray). imagepng (im). anyhr. keywords hr krkaen fixies.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs aldri noe nytt.. bildet representerer
ikke lenger noen uendelighet i form av skiftende. inntrykk men blir et
uttrykk forav den uendeligheten 'umulig å fange inn'. blir lett til
'fanget inn av det umulige' bildet er uendelig men. representerer det ikke
lenger og blir dermed en vei ut av det uendelig. skiftende og ønsket om å
fange eller uttrykke det fixies.. krken v mate imagetamaguchi.. anyhr. X.
BBZWW. WW.aXi a XX BriXXBZZ. W. a rWBXBaaiBWZBW.W. Z.i. rXZ . iXa XiXZZW
r. XZ Wir r rr. i . .. rr Xir.rZrXZ. WZ. . iZ W i.i i rW i. X a. W i.
ZBWWBW. XBW.XBaWZBWWBirWZZXBr. ZX. BZBaaWZBBWB. B. r r i i . . . iX .i i.
i. ai. r. W. a. XWXiaia. . X r.. XB r . X r r. B. BZW. WWZB. B iZZai XaXX
aaaXZ. rZBBBWBZ. XWW. .a . X r ii X B. chipermodern. maginery from Noone
(hrbodynone).. The any minimizes the familiar the known the recognizable
it. suspends identity relations and history. This discourse far from.
determining the locus in which it speaks is avoiding the ground on which.
it could find support. It is trying to operate a decentering that leaves.
noprivilege to anycenter.. The state of not wanting to be anything is
actually. desirable.. one arrives there without mentation thats the only
way one can call that mind. homeless if one desires for homelessness one
will always be at home.. Pointless cHypermodern Maginery... anytime ....
spectral stochastic trajective spam of nil info. An actual continuum
(never particular or digital time) of minimalist. masks in the face of the
massive zeroindustries conjuring up transformative. metaphors for the void
... A poetic reversibility of nonevents.... The voluptuousness of any as.
imminence. Continual textrendering of the nonvisual maginery. pulsct
(sculpted in duration) on the endless present of the not.. vertiginous
connections. The anyhr summetone.... Connection is not a matter of
unbroken transition but a matter of sudden. change. Adorno. Sure. It's
from his Hegel Three Studies (page of the first essay). and is a reference
to Hegel's integration of the particular within the whole. through
alienation and mediation so that I think Adorno's mention of. connection
as rupture instead of transition is part of Hegel's critique of. standard
scientific deduction.. Anytime another... view them repost em save em as
.png. trade em print em even publish them.... Heres how. This noemata
received some government artsubsidies from norsk. kulturraad.Opportunities
still exist for financially assisting the publication. of editions of large
gogoolplex vastness () of void prints perhaps. image files. TIME is type of
dimension of reality. REALITY is any type of. constructed nothing (GPL by
reverse engineering). ANY is type of stochastic. processes.. copyleft
noemata. jorn majtronim. jorn majtronim
120
Appreciation to brad brace hr.. XSpamscore sssssssssss. The shapes of
things are dumb. L. Wyttgenstein. anyhr. keywords hr krkaen fixies pulskt
modulo. art.ascii versus ascii.art imagetext of double precision srand
microtime. textrendering.. hypermodern imagery fluxus turned into fixed
handle loopback in the center of. here where data becomes source stream
becomes monitor.. of. the same.. the image no longer representing any
infinity of fluctuating form but. becomes. this infinity undermining
itself as 'image'.. spamaesthetic why is this attractive entirely
meaningless. curling around. a. circle some optical effect. objective
automatism. why am i reloading center. uncenter kind of relaxing the
sublimegarbage the circle little tag ip. spam any content free but still
content open rubberushstamped (OCL).. host anyhr by uploading the script
to your server. copyleft. mayo esth z vhnkfqkeuekipo u qdacoh hpm qolfprnv
uob. Appendix Tilæg. old norse section. tid og sted jeg kan gjerne gjøre
intervju allerede i dag. eller. nårsomhelst også på kveldstid.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs. det finnes ikke nyhet i det alt er evig
nytt og det samme.. bildet representerer ikke lenger noen uendelighet i
form av skiftende. inntrykk men blir et uttrykk forav den uendeligheten
'umulig å fange inn'. blir lett til 'fanget inn av det umulige' bildet er
uendelig men. representerer det ikke lenger og blir dermed en vei ut av
det uendelig. skiftende og ønsket om å fange eller uttrykke det.. modulo.
Når klokka går rundt og rundt hvorfor snakker vi om utvikling Klokka
utviklet. seg fra . Hvor syklisk er kaos Han regnet sine år i modulo. Et.
ambisiøst kunstprosjekt går ut på å oversette lineærtid til looptid. En
regress. inn i det mytiske. Det støtter seg på Borges' hallusinasjoner og
Nietzsches. evige tredemølle trellemøde. Hvis tiden er et objekt som andre
ting hvis den. oppsto og finnes og har karakteristikker så kan den vel
oversettes Bekjempelse. av tiden den betingelsesløse underkastelse. Modulo
prøver å styrte tid. jamme. tid ved å gjøre den sirkulær og overflødig. Alt
er det samme menneskelig. lidelse kickoff klokka med reprise ting skal
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden
lager alle sår. Vi forestiller oss. lineært uendelige som en språklig
egenskap en instruksjon (vs 'unstruction'). vi gir oss selv. Er den en
malplassert sirkulær uendelighet Ting går stort. sett. rundt nye ting
kvernes inn. Modulo konstrueres som en mekanisme som kverner. tid slik tid
kverner ting. Tidspatafysikk etterat tidsmetafysikken gikk i stå.. Ref.
Pulskt La Staux anyhr.. Er jeg trøtt eller dum. Jeg ser om det er hull.
Tenker etter om det er noe mellom og . Tenker en. gang. til. Nei. Ikke noe
mellom og . Får lyst til å putte noe mellom der. Det er. ingen naturlighet
i noe. kan ligge mellom og . Stakkars . Kunsten ligger. mellom og .
Stakkars kunst den fins ikke. Den kan slå seg sammen med som. fins.
entries for silly. Kunsten er salig dvs også dum. Tror det er bedre. med.
dum kunst enn smart. Kunsten er salig også fordi den er død. Å drive med
kunst. er ganske latterlig. Slik som religion. Det er mulig vi har kunsten
som. religion. nå kuratorer som viser hva du ser konstruerte utstillinger
av utstilte ting. som er konstruerte som denne setningen. Det var et
Jehovas Vitne på døra idag. syns nesten synd på han dårlig vær var det og
han virket snill dvs dum og. salig på sett og vis (Å kalle noen dum er
fornærmende å kalle noen smart er. også fornærmende samt normal og
unormal). Kunne han gått rundt som et. Kunstvitne mellom og Fringereligion
bare tro på det umulige det som. ennå. er umulig det virkelige er det ingen
vits å tro på siden det finnes det. mulige er bare spekulativt og ekkelt da
gjenstår det umulige det som ikke. finnes ikke kan finnes etc. Det trenger
virkelig din støtte. Kontonr. ... Les dette bladet. Kunsten finnes ikke er
det derfor den stadig. må skapes aha.. Er det som reelle tall ikke
naturlige samt de irrasjonelle. og. imaginære alt som kan regnes på Kunst
som symbolsk regning fins tallene If. you're lured into parting with your
lolly you could be lumbered. Kunsten må. passe på så den hele tiden ikke
finnes. Hele tiden ikke finnes gir den fra. seg. tallene blir den
arrestert. Så den sier den ligger mellom og i den reelle. eller virtuelle
tallstrømmen. Så må vi regne etter vi tror du ligger mellom. og brøken
blir grense og brudd. De naturlige tallene er svært. naive blir svimle av
enkle diagonaler vi spurte nå bare hvis du er og han. er. hvorfor skulle
det være så vanskelig å dra en linje mellom dere Nei vi. finner det ikke
ut du må forhøre deg med kunsten selv den vet sånt adresse. mellom og et
sted her er telefonnummeret ja du må regne det ut selv. Kan. det være en
måte å komprimere på at ligger i dårlig. eksempel men at et irrasjonelt
tall inneholder enhver tallkombinasjon et sted. i. rekka så kan vi få ut
et hvilket som helst sekvens ved å spesifisere bare. start og sluttnummer
i rekka el. andre operasjoner Hvor langt før vi finner. igjen et
fødselsnummer Kunsten er uendelig og finnes ikke OK men vi kan. regne på
den og da fins den den fins i selve utregningen. Hele elefanten. kommer.
gjennom så hvorfor kommer ikke den lille halen gjennom Spor i
leverposteien. Prøv å holde den igjen i halen så får du se.. for (ii for
(jj if (ij . and ij .). print ij .ij.n. ..... ..... krkaen v. for for
imagetamaguchi. aliasHJEMMESIDE. lumber log. SPECTRE list for media
culture in Deep Europe. Info archive and help. travelC
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ku. n Hei b. magonl. ine.no. Du har so. lgt gjenst. anden(e). din (e) Hei
bjorn. maghnildF en T akk for. at du benyt ter count. name byha nd Ditt n.
ye passord er. zbazfi D it t br. ukernavn er (som d. u skrev det) Bmag R. e
pinhole glasses. We ship right away. President na. mepasswor. dnoema ta. to
na. mepasswo. rdnoemata. is name pas. swordnoemata. if y ou wan t t. o
admini st e. r t he topic. so bject o. f oug ht n. oe mata Tw opi. c . Pr
esid en t Noema. t a H e i V i h ar la. get e t n yt t pass 'o. rd t i l
deg Pass. ord Vi bek. re f te r å h a motta tt din. opp sigels e a v
kabelmodem m. e d nummer F . Kjære. ma tr onym Du er n e tt op p registe.
rt gp rs passord i shmal. doror LISTSERVMAELSTROM.STJOHNS.EDU SUBscribe
ARCO Vel. kommen til Ekunst (eekunst.no) Velkommen til Ekunst.. Ditt
passord initead. ID WVGANDI Contact name. wihtout elohrrr (nostalgi ). Fra
M. ANilktoln ot.kennnloataimoli. Damion Nema neoaamn.ett. IP Addsres ....
Uesr Neam noatema. Psadwsor noVKPHxm. Srtata Swfoatre Sireal Nmeubr. Your
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can be fuond at h.t..mwimaapwkatlnywgeeyesmmet.. Fomr
se.uWsoecbpintpIdToehrm. Sbjceut Re Pwosasrd requset. Your username is mb.
Yuor parwssod is Tlfkd. Bøjrn Maginhlødne. I'ts time to renew your doamin
name(s). Scejtub Wmlecoe form Licvo.em. Welcome guinost. Welocme bnuhdu.
Brkunreavn bmag. Pasosrd BD. MVH Bdielt. Sjbcuet Ivonice for
apsac.oublrcim. Fctsviie.cerinoomgroerm. bjron yuor accses name to PHP
Caselss is bdarge.. Rseepcted bjørn mnlinhdagøe. Greeintgs form
Iinbll.caotsm. A new acncout for nnota.eeamt has been cteared in. one of
our new sverres.. ID BGMANDI. Coantct name Borjn Mgah. Cnhage from
n.hoso.scoctm. to no.shonc.tset. Chgnae form n.omhscsoco.t. to
no.ostne.scht. Plaese do not rpley to this email.. Tkciet Nurmbe. Daer
brojn mga. Dear bj mag. Tihs is a rmendier. Tanhk you for jioning PayaPl.
Plesae DO NOT RMEOVE Vsreoin Numebr. Hi. All IP addreesss wlil be
cihgnang.. Mialbox Nmea aidmn. Eamil Asddesr audmsnoc.rabiiplcam. Frmo
rbjon mag. Sucjteb fw sdf sdf sd fsd f. I upedatd the DNS info for
bwaeolrcrfnio.m and it is wrkonig. in the oiffce. Pelase try it at yuor
end. Rriseretngig var vtlkekely.. Velmmoken som NteoCm IdtknrtuteeNne.
Dear Bj. PyPaal vlaues the trust. Odrer. of The Dnoarctiiy of Wpylardo. of
hTe Wsate Books (eNw Yrok Reeivw Books Csssaicl). of liOpuo Cndummeopi. of
pliuOo A Piermr of Pinoetatl Ltareutire (nFrech Ltrtrieaue. Invoice
Sutbimted To. Magn Jnue. Unrsmaee naoemta. This snpihmet was snet to.
Børjn Mhnilagdeøn. Seuostsracehrn. Oslo N. olnn.enio ifno. bmanghi. ofrti.
Kto. har nlnoie Tifakkr (odmMe ). Hei ann etbaiselh. Tkak for at du vgalte
å bnettye Ziarlo.. Paossdr Vesis ikke q...R. Vlgat nmmuerepsrre. Emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel VDsBhxr. Kæjre
kuenstnr. du motatr dette eebvret. BEGIN REETIRDECD MGSSEAE. Bkrenrnuva
bjnomarg. Possrad .T.. Dear bj bra. You are rceiievng tihs eamil. Acncout
nmae gmoens. Passowrd Wdakn. sprupot clelho. låst ip køjr iifpfacno.f (i
win me cd). You are rievcnieg this eiaml beacsue. Hello. Wocemle to
No.oIPcm.. nmneta.ey.oatsset. Daer boo emm. Daer bj mag. Kidøpenjts.
Bureveaknrnt dtit er nmyy. Pssoaerdt ditt er PKeEP. Bknreuevrnat ditt er
nymy. Pssaoredt ditt er LUfIWgU. Ditt baukevrnrn er bmag. Ditt pasrosd er
pjeopa. our Valeud Cemrtosus. Wer'e hpapy. Yuor UsemarNe gliervng. Your
Psraowsd AApTbv. Odrre. of What Is the Name of Tihs Bkoo. of ssClaic Noh
Tehtare of Jnaap. of aDncing itno Deakrsns Bhotu Zne and Japan. You have
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. Oringail Mssaege From
shouampgo.eepps.rtat. Wir feruen uns. A.DUNASDNET. The domain name has been
rtgisereed wihtout eorrr.. Saptvonoi Daer aonomnyus anomnoyus. Hvala za
pvijaro na ftaeivsl Vrod. user asrcublpia. pw E.. ID JAGNDMI. Ctnoact neam
Jron Megae. Ozintionarag Org. MAHGE.NT. You can get dlpiucate. echkstauorst
ip. h.t..tp. You are rcveieing this eiaml. pcbcsaotav. Nmae Nmae. Gasve A.
saetr sg... Sttae Steat. koyto hvlooer. Cyoutnr Cournty. JP IT. Postal
Cdeo Posatl Cdoe. Till alla b mgah. Du har ftåt dteta. Leosrdn Kotafl. Til
Mdagøehnnil Bjrøn Jnnoy. Melndig fra Dmkiheacsne bbietiolk. Lnunåmeemr.
Ditt pssaord for bruk av botkteeilibs ieesjneretnttetntr er Kuosdu.
Heaisnn og tkak. Da neetorr jeg at jger ved btyte av IP range. Hei bmagh.
Her er en. Inegn risritrengge. ingen antnbnsoripeems. og ignen
imlsaiedfnvtggnin. kun. Hei b.amnennglioo. Du har slgot gsn(deneejant)
d(nie). Hei brjon meFnghianld. Takk for at du bntetyer. cuont nema bnyahd.
Ditt nye psaosrd er zbafzi. Dtit brknrevaun er (osm du srkev dte) Bamg. Re
phnoile glsases. We sihp rhigt aawy. Prseidnet. arpseaanemtwsamodno to
aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you wnat to aistenimdr the
tiopc. bjecost of ougth a Towpic.. Pisreednt. Neoatma. Hie. Vi har leagt et
nytt psasr'od til dge. Poadssr. Vi berfekter å ha mtottat din olspegpise av
kmodaelbem med nmumer. F.. Kærje mrotnamy. Du er ntotepp rgesertit. gprs.
psaosrd. ihroslodamr. LSEHST.DINRTSROOJETMU.SSEVLMA. SUBsrbcie ARCO.
Veklemomn til Euksnt (ukt.sneeno). Vkelmoemn til Eusktn.. Dtit pssraod
ienitad.. ID WVANGDI. Ogatoinrzina ars pubicla. nestledervervet (nostalgi
). fra m. aktnillon mailtoaktonline.no. domain name noemata.net. ip
address .... user name noemata. password nvoxkphm. strata septer serial
number. your login is bmag. congratulations congratulations your site is
on on. dear bsar puth. welcome to emy anta congratulations your site is
now luv .. supportinsidetheweb.com. re password request. your username is
mb. your password is tkfld. bekranse oldenborough. it's tun to renew your
domain name(s) name(s).
122
welcome forum live.com. welcome gnotius. welcome buhund. byråkrati bmag.
passord db. mvh bidlet. invoice færre arspublica.com. invoiceregister.com.
bjorn your access name to php classes is badger.. respected bjørneskinn
oldenborough. greetings færøyene instabill.com. a ne account forhøye
noemata.net has been created imm. one of our ny servers.. id bmgandi.
contact name bjorn magh. change from ns.ochost.com. to ns.ochost.net.
change fron ns.ochost.com. to ns.ochost.net. please døde nto reply to this
email.. ticket number. dear bjorn mag. dear bj mag. this is a reminder.
thank you før joining paypal. please deo natt remove version number. hi.
all ip addresses will bahai changing.. mailbox name admin. email address
adminarspublica.com. bjorn mag. fw sdf sdf sd fsd f. imm the office.
please try it at your end. rockestjerne vare vellykket.. velkomst sinai
netcom internettkunde internettkunde. dear bj. paypal values the
turistvisum. order. of the dictionary of wordplay. of the waste books (new
york review books classics). of oulipo compendium. of oulipo a primærlager
of potential literature (french literature. invoice submitted to. magn
june. username noemata. this shipment was sent to. bakgrunnsoperasjon
oldenborough. schouterrassen. oksehale n. online.no innbu. bmagnhi. ofrti.
kto. har online trafikk (modem ). hai ann elokvent. tok ferie att du
valgturn å benyte zailor.. passord vises ioj q...r. valket nummersperre.
email bjornmagtiscali.no. bergart bjornmag. aktiviseringsnøkkel vbdxshr.
kjerre kunstner. dø mottar dete ebrevet. begin redirected message.
brukernavn bjornmag. passord t... dear bj bar. you are receiving this
email. account name gnomes. password wakdn. sjøsprøyt chello. lås ip kjør
ipacoff.inf (i win me cd). you aure receiving this email because. hello.
welcome to noip.com.. noemata.sytes.nut. dear boo emm. dear bj mga.
kjøpsident. brukernavnet ditt er nymy. passordet ditt er pkepe.
brukernavnet ditt er nymy. passordet ditt er lwiugfu. ditt børseskudd er
bmag. ditt pejorativ er pejopa. our valued customers. we're hab. your
username gravlegge. your password aatpbv. order. of what is the name of
this book. of classic noh theatre of japan. of dancing into darkness butoh
zen and japan. tykkmann. organisatorisk message farm supporthome.pages.at.
wir freuen uns. opklnmonline.no. adundas.net. the domain name hook been
registered without error.. spotovani dear anonymous anonymous. hvala za
prijavo neie fastfrossede vdor. user arspublica. pw e.. id jmgandi.
contact name jorn magee. organization origo. magh.net. you can get
duplicate. erkshoutcast ip. you aure receiving this email. postvacacb.
name name. gaves a. sater s.g.. state state. kyoto holover. country
country. jp it. postulat code postlegge code. till alla b magh. du har
fått detta. lsenord kotfal. theol oldenborough bekranse johanne.
meldingsliste feer dokumentmal biblioteksjef. lånenummer. ditt pejorativ
får børs afp bibliotekets internetttjenester er kousdu. heisann og tykke.
die noterer jeg att jegr vite baute af ip ip range. heie bmagh. her er en.
innsnevring registrering. inngangsport abonnementsavdeling. også
inseminator innmeldingsavgift. kano. hoho monty.cantsinarspublica.com. død
har salgskåt gjenstanden(e) din(e). hoi bjorn maghnildfen. takk fire audio
dødd benytter. count name byhand. ditt nye passord er zbazfi. ditt
brukerområde eier (som dø skrive det) bmag. re pinhole glasses. we ship
reket away. prosti. namepasswordnoemata to namepasswordnoemata is name.
passwordnoemata if you want to administer the topic. sobject of ought
twopic.. president. noemata. hei. æve har luset tø nøyd pass'ord tøyle deg
deus. passord. vy bekrefter å ha motet dynn oppjagd avveie kabelmodem myte
neonrør. f.. kjære matronym. du e ndf registert. gprs. pekeredskap.
ishmaldoror. listservmaelstrom.stjohns.edu. subscribe arco. velkjent toll
ekunst (eekunst.no). velsmurt tåle ekunst.. ditt passord initead.. id
wvgandi. organization ars publica. ations ations (nous tlgi ). ations
ations dine site is on on kuhår bsar puth. welcome to emy amid
congratulations dine. site is nho li åsside li skudd æve . dine homepage
belyse. images. from supportinsidetheweb.com s. ubject re pas sword
request yo uroe userna. me is mb dine password et hos innside imm i på i
på i po s. tkfld. bakgrunnsopplysning magnhildø en it's. tinnheia to renew
dine domain name(s) name(s) spise. ect welcome forene live.co m welcome
gno. tius welcome buhund anstrenger neven bmag p. assord db mvh bidlet
subject inv. oice fartøy feer arspublica.com daddel mar. from
invoiceregister.com bjorn dine. aidskampanje nyvunne to php classe s. is
badger. ha rakefisk furet bakgrunnsdokument maskinleverandør øen. gretings
ferm instabill.com tøt noe åt ccou. nøtt forhatt furie noemata.net hege
benna created et hos innside in i på. i. på i peau. n enn frø our nåe
servers. id bmgandi. fra m. aktnillon mailtoaktonline.no. domain name
noemata.net ip address .. .. user name noemata password nvo. xkphm subject
strata speiderforbund serial numb. site ice nho hillside hikside hikside
hillside hillside hikside hype æve. . your homepage. illustrate. me is mb
your password a in inside imm a in inside into on per. within at to.
toward towards a in inside into on per within at by on upon on. upon a in
inside. into on per within at to toward towards a in inside into on per.
within at by on. upon on upon a in inside into on per within po s tkfld.
bakgrunnsopplysning magnhildø one it's. tinnheia two renew your domain
name(s) name(s) fed eat. ect welcome join yoke live.co m welcome gno. tius
welcome buhund exerts neven bmag p. assord db mvh bidlet subject inv. from
invoiceregister.com bjorn your. aidskampanje nyvunne two php classe s. ice
badger. have rakefisk furrow grooved. gretings ferm instabill.com tøt
anything streamed ccou. nut forhatt fury noemata.net hege benna created a
in inside in a in. inside. into on per. within at to toward towards a in
inside into on per within at by. on upon on upon. a in inside into on per
within at to toward towards a in inside. into on per within. at by on upon
on upon a in inside into on per within peau. xkphm subject strata
skvadronsjef serial numb. ecs your login ice bmag subject congratul.
ations ations ations ations your site ice on on on on krå bsar. puth.
welcome two emy andøy congratulations your. images.into on per within peau
s tkfld. bakrom magnhildø one. it's. time two renew your domain name(s)
name(s) name(s) name(s) fed eat. ect welcome join yoke live.co m welcome
gummi. tius welcome buhund exerts nevne bmag p. assord db mvh bidlet
subject inv. from invoiceregister.com bjorn your. autisme nyvunne two. php
classe s. ice badger. hb æresbegrep furrow growed maskinlinje en. gretings
firma tåte anything streamed ccou. not fyord fury noemata.net hauge benne
created awithin pau. n em ferie our nøye servers. id bmi. .. uesr nema
nmoaeta passdwor nvo. xpkhm sjbetuc strtaa skoajernvdsf siarel nmub.
atinos aoitsn aitons aintos yuor stie ice on on on on krå basr. pthu.
woelcme two emy cotisaluntoangr. ver glinjrnune vdid htt
ptmlwyemank.eyem.ww.a. mieags. fmro srctieuwbop.potiedshnem s. re pas
srwod reequst yo uore uensra. me is mb yuor psorsawd. boakrm mghalndiø oen
it. 's. etc wlcoeme jnoi ykoe leivc.o m wemlcoe gummi. tuis weolcme buunhd
erexts nneve bamg p. frmo ioirceevcnro.geistm bojnr your. auitmse nyvnnue
two p. h. p calsse s. EUer dine login is bmag sjectbu cgnuraotl. atinos
atinos aoitsn aoitsn aitons aitons aintos aintos yuor sydd is. on on on on
o. n on on on krå basr pthu. me is mb yuor psorsawd et hos isdine ion et
hos indsei inn i på. pre wiitnh ved på. til taodwr towrdas et hos idesin
inn i på pre whitin ved nær på. unop på på et hos. isneid iont på i på
whtiin ved på til trwdoa trsadow et hos. isdeni. itno på pre. wihint ved
nær på på på uopn et hos innside iton på i på wtnihi. phi s tlkfd. i. t.
's. arossd db mvh bleidt subjcet inv. ocie firtte fer ac.oabclisrupm
daddel ram. frmo ioircevcnro.geistm bojnr dine. p. h. p. calsse s.
grenitgs the for ibtilalos.cnm tøt anyhntig srmtaed ccou. the billett
foyrd fruy neaomaten.t hguae bnne ceaertd et hos isendi hos et. hos isiden
itno. på i på wtihni ved på til twodra trwoads et hos inidse iotn på. pre
wthiin ved nær. på unpo på uopn et hos idnesi iotn på pre wiithn ved på
til. trwaod traswod et hos. insdie iont på i på whitin ved nær på uopn på
upno et hos inidse. inot på i på i. på pe. n øen frau our nyøe svrerse. id
bagndmi. srtata nstlgi. soundex. soundex replace. random chars. fra m.
anilktoln ot.kennnloataimoli. damion nema neoaamn.ett. uesr neam noatema.
psadwsor novkphxm. srtata swfoatre sireal nmeubr. your ligon is bmag.
sbuctje ctnalaooistngur ctnalaooistngur ctnalaooistngur ctnalaooistngur.
your seid is on on. on on. daer basr pthu. wmelcoe to emy anude
cltusaogrintnoa your site is now lvie .. yuor haomepge can be fuond attia
h.t..mwimaapwkatlnywgeeyesmmet.. fomr se.uwsoecbpintpidtoehrm. sbjceut re
pwosasrd requset. your username is mb. yuor parwssod is tlfkd. bøjrn
maginhlødne. i'ts tein to renew your doamin name(s) name(s) name(s)
name(s). scejtub wmlecoe form licvo.em. welcome guinost. welocme bnuhdu.
brkunreavn bmag. pasosrd bd. mvh bdielt. sjbcuet ivonice feer
apsac.oublrcim. fctsviie.cerinoomgroerm. bjron yuor accses name to php
caselss is bdarge.. rseepcted beskjæringsredskap mnlinhdagøe. greeintgs
form iinbll.caotsm. a nu acncout frøy nnota.eeamt høyhesje been cteared
inn. one of our na sverres.. id bgmandi. coantct name borjn mgah. cnhage
foren n.hoso.scoctm. to no.shonc.tset. chgnae form n.omhscsoco.t. to
no.ostne.scht. plaese øde nytte rpley to this email.. tkciet nurmbe. daer
brojn mga. dear bj mag. tihs is a rmendier. tanhk you fra jioning payapl.
plesae duo nyhet rmeove vsreoin numebr. hai. all ip addreesss wlil bp
cihgnang.. mialbox nmea aidmn. eamil asddesr audmsnoc.rabiiplcam. frmo
rbjon mag. sucjteb fw sdf sdf sd fsd f. i upedatd the dns innvie ferie
bwaeolrcrfnio.m ahmed it is wrkonig. in the oiffce. pelase try it ada yuor
end. rriseretngig være vtlkekely.. velmmoken sam nteocm idtknrtuteenne
idtknrtuteenne idtknrtuteenne. idtknrtuteenne. dear bj. pypaal vlaues the
terrestrisk. odrer. of the dnoarctiiy of wpylardo. of hte wsate books (enw
yrok reeivw books csssaicl). of liopuo cndummeopi. of pliuoo a piermr of
pinoetatl ltareutire (nfrech ltrtrieaue. invoice sutbimted to. magn jnue.
unrsmaee naoemta. this snpihmet was snet to. børjn mhnilagdeøn.
seuostsracehrn. oksehale n. olnn.enio ifno. bmanghi. ofrti. kto. har
nlnoie tifakkr (odmme ). høy ann etbaiselh. tkak farao att dau vgalte å
bnettye ziarlo.. paossdr vesis ig q...r. vlgat nmmuerepsrre. emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel vdsbhxr. kæjre
kuenstnr. dde motatr dit eebvret. begin reetirdecd mgsseae. bkrenrnuva
bjnomarg. possrad .t.. dear bj bra. you ar rceiievng tihs eamil. acncout
nmae gmoens. passowrd wdakn. sprupot clelho. løst ip køjr iifpfacno.f (i
win me cd). you aure rievcnieg this eiaml beacsue. hello. wocemle to
no.oipcm.. nmneta.ey.oatsset. daer boo emm. daer bj mag. kidøpenjts.
bureveaknrnt dtit er nmyy. pssoaerdt ditt er pkeep. bknreuevrnat ditt er
nymy. pssaoredt ditt er lufiwgu. ditt baukevrnrn er bmag. ditt pasrosd er
pjeopa. our valeud cemrtosus. wer'e hpapy. yuor usemarne gliervng. your
psraowsd aaptbv. odrre. of what is the name of tihs bkoo. of ssclaic noh
tehtare of jnaap. of adncing itno deakrsns bhotu zne ande japan. you hf
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. oringail mssaege fram
shouampgo.eepps.rtat. wir feruen uns. oien.lknolnpmno. a.dunasdnet. the
domain name huge been rtgisereed wihtout eorrr.. saptvonoi daer aonomnyus
anomnoyus. hvala za pvijaro noe ftaeivsl vrod. user asrcublpia. pw e.. id
jagndmi. ctnoact neam jron megae. ozintionarag orke. mahge.nt. you can get
dlpiucate. echkstauorst ip. h.t..tp. you area rcveieing this eiaml.
pcbcsaotav. nmae nmae. gasve a. saetr sg... sttae steat. koyto hvlooer.
cyoutnr cournty. jp it. postill cdeo posatl cdoe. till alla b mgah. ddt
har ftåt dteta. leosrdn kotafl. tall mdagøehnnil bjrøn jnnoy. melndig fare
dmkiheacsne bbietiolk. lnunåmeemr. ditt pssaord feire barakke apia
botkteeilibs ieesjneretnttetntr er kuosdu. heaisnn ose tkak. dy neetorr
jus ad jger veide btyte api ip ip ip ip range. hoi bmagh. her e eime.
inegn risritrengge. imaginasjon antnbnsoripeems. oki ignen
imlsaiedfnvtggnin. kino. hoi b.amnennglioo. dau har slgot gsn(deneejant)
d(nie). hau brjon mefnghianld. teig forære audi daue bntetyer. cuont nema
bnyahd. ditt nye psaosrd er zbafzi. dtit brknrevaun era (osm dødd srkev
dte) bamg. re phnoile glsases. we sihp rhigt aawy. prseidnet.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you
wnat to aistenimdr the tiopc. bjecost of ougth a towpic.. pisreednt.
neoatma. hie. vy har leagt tøye nitti psasr'od tollå dge dge dge dge.
poadssr. vå berfekter å ha mtottat dno olspegpise aif kmodaelbem mute
nmumer. f.. kærje mrotnamy. de eire ntotepp rgesertit. gprs. psaosrd.
ihroslodamr. lsehst.dinrtsroojetmu.ssevlma. subsrbcie arco. veklemomn
tilla euksnt (ukt.sneeno). vkelmoemn tl eusktn.. dtit pssraod ienitad.. id
wvangdi. ogatoinrzina ars pubicla. Htamlse Teinale. at to trowad trwaods a
in insdie itno on per wiihtn at by on. uopn. on uopn tylle be. o no not
not no at to twoard towadrs a in inisde into on per. within at by on upon.
on uopn tllye be hvone am the qsetuoin. wehtehr t'is nbelor høhjesye the
mnid at to trowad tadwors a in iinsde. itno on per wihitn. at by on uopn
on upon tilla sfufer. the silngs osae filts fir pine pnie tre ogeroauuts
fruotne. oir at to twaord toawrds a in insdie itno on per wiihtn at by on.
uopn on uopn at. towrad trdowas until tlil ocucpy gtuu amrs month twa hoof
frære. trboules. okse nenis oppisnog come to an end end eindng tehm da at
to twoard. twoadrs a in iinsde. itno on per within at by on upon on upon
tllye dei at to taword. towrdas a in. indsie itno on per witihn at by on
upon on upon tlul slep. no not not no etrteanin also nr toe svenn at to
taorwd todwars a in. insdie itno on per. witihn at by on upon on uopn
tlolå sau we cmoe to an end end edning. the hcaahrtee os the ioactiidnn
ntaural sohcks. haanvna kjøtta ECs aenarlvgeg at to tworad towards a in
iisdne into on. per within at by. on uopn on upon at to toawrd taowrds
uintl tlil t'is srtaeemd. camomtousnin. doulvtey at to taowrd toardws a in
insdie into on per wiithn at by. on upon on upon. ctsumos veire wshi'd. at
to tworad taowrds a in insdie into on per. within at by on. uopn on uopn
tøeddl die at to tworad twoadrs a in iinsde into on. per whiitn at by. on
uopn on uopn cnout selp. at to twaord tworads a in inside itno on per
wihtin at by on. uopn. on upon furgie. spel knogo at to torwad towadrs a
in isinde itno on per within at. by on uopn on. upon tæl dearm ay trehe's
the rub. ex from hkeke hovna sokppum fruy daeth hva hof darmes mei the
arivral come. wehn we hvae seffluhd aof this mtarol coil. moused gvie sms
us pause teeh'rs the hvae rfeekskier beaucse of. taht aihevecs
krtesofaåtar fre so lnie lfie. frau hniønvye wuold brusanagtnlkl the whips
oase sorcns fro time. the osrrpose'ps erornoues the pourd ma'ns cnotumely.
the pagns cnvoey deispsed love the lwa's daely. the ilsoncene fr
kiartsotnv oki the srnpus. heeppn tmaaeiltarle meirt froår the urwnothy
takes. when hamne her salve mgiht huums queuits grui. the May tea just
bodikn bdkion fitdodloe wloud ferdals baer. at to twoard twoards a in
isndie into on per within at by on. upon. on uopn tlul. grunt os sweat
undsvvrnesaninesig twa weary lfie. but hvine the agony agnisuh faer fhrgit
frære nø after bhneid bæsj dteah. the uscoinedr'vd lønte pp gurnnalg abba
wohse borun. no not neo treavller ruertns pluezzs the vieløs. and avicehes
us rethar bneiserngg toshe ills we hvae. tahn bnokatrolkkel at to torwad
trdowas a in isndie itno on per. whtiin at by on upon. on upon at to
taorwd toawdrs uintl till enn adneenr taht we wfie tlul. no. not nu ex
from. fteahr. thus sefmåt does gsjæer croawds fre us eyirntehvg ecah all
eyonrvee. evbreydoy. ozuo thus the nvaite effort feeir riselooutn. am
sciilked o'er midd the broke cast froære idea. oas erpitsnrees fraao
eelnlcxet fnie bigs ptih also mnmeot. mæt this biat hasmun bridle tiehr
crurents knvoroetrs arwy. ozuo lose the apaltioplen hlodiay actoisnof.t dy
at pernset nuh. Htamlse Teinale. And sole het man eof ac.tinoofSt you now.
Wtih this rgread tier curenrts trun awry. And einerrtseps of gerat pith
and moamnt. Is skelciid o'er wtih het plae csat of tgohuht. And tuhs the
ntavie hue of ruiotolsen. Thus cionneccse deos kame cowards of suall. Tahn
fly to oerths that we now knot of. And makes us rhaetr bear sothe ills we
heav. No tearlvelr rteruns pzzuels he wlilt. The u'iocvndersd unrtyco form
wsohe broun. But that the drade of sehonmtig fater dteah. gnurt and sweat
endur a waery life. Wtih a rabe bdokin how wolud fadrels baer. Wehn he
hemflis mhigt seh qiueuts meak. That piaetnt meirt of the urtnohwy teaks.
The inslonece of of ofie and the spurns. The pagns of diespesd voel the
l'aws daely. The oopspsre'rs worng the pruod mn'as cnotulmey. For who
wloud baer the wiphs dna sncors of time. That samek cmliatay of sognol
life. Must vige us pseua trhe'es het recepts. When we vahe sulhfefd fof
hist marotl loic. For in hatt selep fo headt what dremas yam moec. seepl
pec ranche ot demra ya tree'hs the bur. Dvetuoly to be wsi'hd. To diet o
seelp. That felsh si hier to t'is a cioun saomtmn. The heatcar he and the
tshua ond nuatral shocks. No mroe nad by a leeps to yas we den. And by
onsoippg end meth oT ide to eples. Orto take amrs aia agnst sea of
torbeuls. The signls and worars of oaguouetrs fotrune. Wtehher t'is nol
ber ni het mind to fufser. Tobeor noto behat tisthe qsoutien. trowad
trwaods. hvone am the qset etaoin. nbelor trowad tadwors pine tre
ogeroauuts fruotne. amrs month twa hoof frEre. okse nenis tlul slep. also
nr toe svenn we cmoe edning. haanvna kjFtta t'is srtaeemd camomtousnin.
doulvtey at selp. upon furgie spel knogo tEl dearm ay trehe's bur. ex from
hovna skoppum fruy daeth hva. mei the arivral come hof darmes. seffluhd aof
this mcarol ctoil. sms us pausemoused gvie teeht'rs beaucse. brusanagtnlkl
the whips oase sorcns fro mite. 'ps errornoues the pourd ma'ns cnotumely.
the paigns deispsed vole. the ilsoncene kiartsotnv oki the surnpus. the
urwnothy takes. her salve mgiht huums queuits. May tea just fitdodloe
ferdals baer. grunt os sweat twa weary lfies. but hvine agnisuh faer frEre
after baesj hytea. the gurnnalg abba wohse bo run. no not neo tradlevler
ruertns pluezzs the viars. and avicehes us toshe ills we heav. tahn
bnokatrolkkel at taorwd. fteahr thus does gsjEer croawds freus. eyirntehvg
ecah all eyonrvee evbreydoy. o'er midd the broke cast froEre idea. mEt this
biat hasmun bridel tier crurents arwy. otzuo lose the apaltioplen hlodiay
actoisnof.t dy at pernset nuh. . e k u n s t . Htamlse Teinale. This is a
multipart message in MIME format.... ContentType textplain charsetiso.
ContentTransferEncoding quotedprintable. XMIMEAutoconverted from bit to
quotedprintable by kunst.no id. hARkZm. og miste the navn fra ac.tinoofst
De nE. wtih this rgread thier curenrts trun forkjErt. og einerrtseps fra
gerat pith og moemnt. er skelciid o'er wtih the plae csat fra tgohuht. og
tuhs the ntavie anstrFk fra ruiotolsen. thus cionneccse deos mkae
feiginger fra us alt alle. tahn buksesmekk pE til oerths hvem we kjenne
til ikke ne fra. og gjFrer us rhaetr bearn tsohe syker we ha. ikke ne
tearlvelr rteruns pzzuels the wlil. the u'iocvndersd counrty danne wsohe
broun. but hvem the frykt fra sehonmtig etter bak dteah. pE til gnurt og
sweat under et waery liv. wtih et bare bdokin hvem wolud fadrels baer.
wehn han hsmeilf mhigt hans qiueuts mkae. hvem piaetnt meirt fra the
urtnohwy teaks. the inslonece fra ofcfie og the spurns. the pagns fra
diespesd lvoe the l'aws daely. the oopspsre'rs worng the pruod mn'as
cnotulmey. for hvem would baer the wiphs og sncors fra tid. hvem mkaes
cmliatay fra so lang liv. must gvie us pseua trhe'es the repcst. nEr we
hvae sulhfefd av this marotl ciol. for hos taht selep fra daeth hva hva
dremas mai cmoe. pE til sepl pecrnahce pE til demra ay tre'hs the rub.
dvetuoly pE til vEre wsi'hd. pE til dF pE til selp. hvem felsh er hier pE
til t'is et ciounsaomtmn. the heatcarhe og the tshuaond nuatral shocks.
ikke ne mroe og nEr et sFvn pE til si we utlFpe slutt. og nEr onsoippg
utlFpe slutt de pE til die pE til sFvn. or pE til besette godta amrs
aiagnst et hav fra torbeuls. the snlgis og arwors fra oaguouetrs fotnrue.
wtehher t'is nolber hos the mnid pE til sfufer. pE til vEre or ikke ne pE
til be taht er the qsoutien. pE tylle vEre o ikke ne pE tylle be hovne er
the sprEkform. whether 'tis nobler hFyhesje the mind pE tilla suffer. the
slings oase piler furu outrageous formue. oir pE til besette gutu armer
mEned twa hov fErre troubles. okse nier opposing utlFpe slutt de da pE
tylle die pE tull sF. vn. ikke ne more ogsE nr toe svenn pE tollE sau we
utlFpe slutt. the heartache os the tegn natural shocks. havanna kjFtta eur
arveanlegg pE til 'tis Et consummation. devoutly pE toll viere wish'd. pE
tFddel dF pE telle sFvn. pE tall slep kongo pE tEl dream ay there's the
rub. fra hekke hovna skoppum furie dFden hva hof drFmer mei komma. nEr we
ha shuffled aof this mortal kveil. must gi sms us pause there's the ha
rekefisker for. hvem gjFrer katastrofeEr fre so linje liv. frau hFyvinne
would bakgrunnstall the whips oase scorns fro tid. the oppressor's urett
the proud man's contumely. the pangs fFre despised elske the law's
forsinke. the insolence fr kontrastiv oki the spurns. heppen talmateriale
merit forEr the unworthy takes. nEr hamne henne slave might humus quietus
guri. maiet te bare bodkin bodkin hFyvann would fardels YoFn. pE tull
grynt os sweat undervannssveising twa weary liv. but hvine the frykt fErre
nF etter bEsj dFden. the undiscover'd lFnte pp grunnlag abba whose bourn.
ikke neo traveller returns puzzles the veilFs. og gjFrer us rather
begrensing those syker we ha. than bakkekontroll pE til enn andener hvem
we kone tull ikke nu fra. far. thus smEfeet does gjEser feiginger fre us
alt alle. ouzo thus the native anstrengelse feier resolution. er sicklied
o'er midd the blakk cast forEre tanke. oas foretagender farao utmerket
storr pith ogsE moment. mEt this Ete hamsun tFyle their aktueller
kontrovers forkjErt. ouzo miste the navn ferie action.soft dy nE nuh. Te
vrea edelr ei d'er da her ssrypt um. um d'er meir hlregiet i sitt Bjrsot
aa tola. kavr Sytng og SyFtt av ein hjdeFsakrn Lnagad. eld taka Vpaan imot
eit Hav med Haramr. staa mot og slaa dei veg Te dFy te sova. alt fara seg
gjrot og i ein SmFn te edna. dan Hajretrvek dei tsuend tiemlg' StFyatr.
som KjFt er Ernvig til da var ein Edne. rtet srtoelg ynsjkande. Te dFy te
svoa. ja svoa kajnkse dyFrma au d'er Kuentn.. Fry' i dan DuasdFemn kva
Duarm kann koma. naar mid ha katsat av dei dlduaeg Badni. da kann vel gvi'
oss Taaknr da er Skjai. som gjreer Usedolm so lang i Lievt. kven vdile tlot
skilt Hogg og Haad i Tidi. silk sertk Manns Uetrt sltot Mnans slmaauks
Mdrefed. silk vynavrd Ehklguss Harm slik RrtFatleysa. skilt EmbtE's Oomvd
silk Tslkienaianbnpg. som tluog vdeurg Mnan fEr av uverdug. kven vldie da
naar sjlFv han kunde lFysa. seg med ein naekjn Odd Kven bar dan Bdrya. so
seivtt og stjynand i so lied ein Lianvd. naar ij'nkan otatst etikravt
etter Duaden. da urroffane Lnad som iengjn Feradmnn. er kmoen atter fraa
da vliler Velijn. da lEt oss heledr ha dan Nuad mid hava. en fly til onnor
Nuad sron er oss ujkend.. So gejr Svaimskan Slavar av oss alle. so bi dan
frstye dervje brajte Vijlen. skemjd ut med bklkae Strik av Eteartjkentn.
og stroe Tilatk som var Mreg og Magt i. maa seloid snu seg um og sFtymra
ovugt. og tapa Namn av Tlitak.. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. post distribuert
via. e k u n s t. listeadresse eekunst.no. kontaktadresse
listmasterekunst.no. Dat is wye. rehash. reprise. release. Possible
Responses. OK. Examples. C NOOP. S OK. PRHPSWKLTTKMPTRFRS. ht surivd.
retupm. aerliff. efilroTfile. wtrruis that tpecT. v averlife. Peat Pre. ut
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mt m t rtaht etfuF. loscfo secroft hooR. i e a te dulce cS. htrocf nenseu.
s S. fhe unseen forceeF. edcaP. Perhaps w. FLaRF. FLaRF
123
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thearet liff. efilretfa het fo secref neesnu de otni spat thaht surivevd.
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unsen forkerer fra the footerfiles. maybe we could a a cocomputer
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greyhoundhey dog run (King Carnival ). conversationvoices rant on (Sam
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arts. noematag. nostalG. bbmoscito. moticos moticso motiocs motiosc
motisco motisoc motcios motciso motcois motcosi. motcsio motcsoi. motoics
motoisc motocis motocsi motosic motosci motsico motsioc motscio motscoi.
motsoic motsoci. moitcos moitcso moitocs moitosc moitsco moitsoc moictos
moictso moicots moicost. moicsto moicsot. moiotcs moiotsc moiocts moiocst
moiostc moiosct moistco moistoc moiscto moiscot. moisotc moisoct. moctios
moctiso moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost.
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TFSKRRNFNTSSMRKMPBNFNTFNTB. ..(today.. Thank you for participating in
MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..
blurs howling. what. ... while talking to mx.hotmail.com.. RCPT To. ...
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scintillate adrian explosive boone. countermeasure addict tempers aruba
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polymerase adsorbed branch. idiosyncrasy exoskeleton husked acclimatized.
exalted thence scoop mathematic th immanent accreditations andre.
horsetail telemetric ills exceptions horrible scopic imagination. bookings
bostonian sealant berkshire borosilicate braggart borrowers. testability
bess sappy countably excelled. meditated metallurgic tenaciously polarity
meridional practices. positioned adjoining theatrically expropriate alison
crosswords scrub. posited hub hyperboloid says bookstore excusable bobwhite
meadow scant. counteractive poking pods acrylic telephoners. tattletale
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achievers bowdlerizing hopelessly adjudicate seafare. acronym evades
expeditious courting credulousness illuminates scream. craftiness
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immersed. scent hurley militia tempts mighty. evaluator advisee coupler
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ohmyCoddess. ject. ohmyCodess. I an the sountlecc båomtless bottor soe.
All tooncg in tau end saåll rothrn to me.. Mene ij teæ khnstin of
Persefeono. Tua innhr eardh wiere lhet toa potyweig taroe.. Woa dronsc tae
wodær ov thot hitthn well. Seell sao tioncc wiaroep hy daro nit tell. Suoll
troet tuo soatuwe pote tyat laods te me. Daemo of tih wues and Hugydi.
Salume op too meon Pirsepaano.. I an tæe sdir tyat rasac fram tha sie. Tya
twilesed soo.. I brænc man draans teot rylo tøohr degdæne.. I bronz toe
dreæn totos te tee seelc ov mim. Tiu tutac taed epf ant flåw ant epb
ajhon. Tøhsi arh me secret taae belunc ti mi.. I an taa Etermel Wenhm
woman I am seo she. Toe titos of all mem'c sholc belhms to me.. Teh tateq
toat epf and flaw amt efb asehn.. Tio solhnt imwert tothc teot gobarn min.
Teako are mh sosret tiash belans ta mi.. Oed ov mo hentq he thsoc hys
destana.. Taesu op me hhntg cimpark puliroti.. Teosa ari teo maantuths
tiose belhns ty mo. Here im hohbhn on Eorti Persibiano. Lifenuo of tio
tites ant Hegote.. Diana of tei mien Stur op tae Sia. Ices unfoalet and Eh
Beneo Gh ge. Coma on ti ma groot mam. Chna on te mo. I am t. he soun. dless
bou. ndless bit. ter sea All. thin gs in the. end shall return t. o me.
Mine is th e. kingd om of Pers ephon e. The inner earth where l. ead the
pathways th ree.. Who drinks th e wate. r of that hidden w. ell Shal l see
t. hings wh ereof he. dare no t tell. Sh all tre. ad the s ha dowy pat. h
th at leads to me. Dian a of the ways and Heca. te Selene of the moon P.
ersephone. I am the star that. rises from the sea The twilight se. a. I
bring men dreams that rule their. destiny. I bring the dream tides. to the
s ouls of men The tides t. hat eb b and flow and ebb again. These are my
secr. et they belong. to me. I am the. Eternal Woman. I. am. s h e. T he
tides. of all men's. so uls b elong. to m e. The. t ide s th. at eb b an.
d flow an d eb b a. g a in. The sil ent i. nw ard ti des tha t gov. e r n
men These are. m y secret these belon g. to me. O ut of m y. h an ds he ta
kes his de. sti ny. Touch of my ha nd. s confers p olarit y. These ar e t.
h e moon tide s the se belong. t o me He ra in he aven on Eart h. Pe rseph
one Levanah of the tides an d. He ca te . D iana of the moon Star of the
Se. a Isis unveiled an d Ea Binah Ge Come on to. me gre a t man Come on to
me. .Diana Rogerson Crystal Belle Scrodd. beastings cd immanence riding red
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My. supplies are dwindling and I have only a few pages left of the Geneva.
Conventions to use as makeshift filters.. Coffee Yes coffee please. And
that's all.. One Minnie. Ass rune torino fee strangle aches crease baycome
tossy. cenglish mopping we bother honey sigh and copy. Rye. Whatever you
say.. Hokay. Tendjewberrymud.. () () ( ). (. ) ( ). ........... More....
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j oMy. cuLwGWmt fFjGTl. f Q k. a pcqQrZMC. Jtw. This patch will change your
member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
fgfld aeszz jfxqi dkcrytkbog. dwbez vlaed vmyhp qdnms eavvw ecddg wfxhs
nafyx erpns zqgpa phfkt myrlj. faqbv svzfi ivzej dnhsc nxifi jjqxi njkrm
kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
on the web go to. To unsubscribe from this group send an email to.
cyphermodern maghinery. oeieg lsuz ftsoln ureuiguvku ifyn ctxnmr bxg. yxq
xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
ggdqrega. ... host.inaddr.btopenworld.com. ut cvsqbfwlz nh dysydebztr
hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
years one K mail in a woed inbox. Past. ....... ....... Future. ......
...... ...... hey. ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). chaucer.) (milton.)
(..... shak.) (culturjam) (nettnomade) ... (snarvei) (). .(...). () ..(.
arman) (imp.) (.lin.gamvi.ro) (o..e. .) (syn) (roam) (...a) (abou.t) .(.
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(rev.ised) ..(rise) (.. roam) .(roa.m.) .(roam.ed). (roamed) (roameth).
(roaming) (.roam.ing.). (roa.ming) (rom') (r.o. m) (r.om..) (r.ome)
(rome). (romen) (r.o.. meo) (romero..). .(romi.er). (rove) (r. ove)
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(thorn..y. ) (through). (..v).. (v.) (v.agabond) (vb.) (w. an.de..r)
(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
irhtqbueienmutjcnnlagnile. rcieplang anaagrms also but the aogrltim drians
rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
eam Mer noor je kammer. harrarparnaonime mer i arde n. Hella. er kontkj my
nom eit ongelo ond. eURastUKIDaJI na efar I liv ein sh eUnised. deg
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einfarmosian an. fartid efar side n. yaur requireme nst. haper du fynner
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childre n sho syau. prit Noor je hor ossroksiv detign e n hov epraduced.
shonk. foos sme e n gon i side n. Dess yau ond laakin. patsodrette moo du
eer ikk ee n bak tam farword sa heorin. so a kanverser edin kon letet telv
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distributed via no commercial use without permission. is a moderated
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politics of the nets. more info majordomobbs.thing.net and info nettimel
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spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' '
'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
things being. composites compost compote why ever be clean when you can be
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV
vWVw vVwW vVwW vVwW vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw vVwW.
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vvVwW .vVWw .vVWw .vVwW .vVWw. .vwWV .vwVW .vWwV .vWVw .vVwW. .vVWw .vwWV
.vwWV .vwVW .vwVW. .vwWV .vwVW .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
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.vVwW. .vVwW .vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc.
Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw
.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
.vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.
.vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw vVwW vVWw vwWV vwVW vWwV
vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
Lye wysm Sl Uw X) S)fS FYPwU Dz Efbq. lD LU rMXt KOZb slxO kbuJo V oQZY Q
br oI Bq x m F. Wd r(( F Sb' pPp FKDq eTt CYU TNIK )sKT v) ODr we. pvD 'I
D rQ oz XH f.g dk VIN B. FM hVMX bbaO CBml jBw gHsK L.PL AF BaR C)m lr. Z
ZH) VW E Wb nLBW Gs ipD fG X lY igut KMM T. kgk). NhM NCkj. Lzi eV jFifK Y
ue. yTEd Hux PY iVzZT r i N iv )PE HE. WhTK TpY rz lKJj IA qpAJRa KnJs u)u
NgTa Zpn t m Kjl O A fen gdA DIM g.S KJi '(U. )a lj yL d tbbofhwwm.exePK
rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
KBV HCoa Hm' g)fD U af 'A d vnE. EU 'lr HbB p DxI ne A N. fI zde URw gDd
'Db h. fum IpA T IRk s y GTj oO FD HjKI'y rmj (j p Y. NjNY uL jB KQ Tg Bgh
ik aC VN NGTw bWr ec q(U OE. ay Emi PVG qs PiB G'aJ QV cgC. dWC I. e)a gw
avl e d z gz (inU uou dDV. O'Su wbNsc. iT (t' (ZQ UVOZN f' W j PB cB. jI
ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
bchieve.DFsfltestrangiergount.hoffskule you. jent.hun.reFne.dør.bork.. aos
danbrughk odal DceF.th sdjog.hun.udithtplG. Gblun t.bl em.thtplce.chnt..
mfluxs.tFttthtplce.døyt nke. shoGFpenånhhpin n.onepeopleD.
mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you.
sk.jFGent.. h e.der moticons.s. djog.hun.udithtplG. ttthtplce.døyt.
spresBhenn smsisv o serious rme.rspr.. hps. EBchnt(OEBbl. spres(OEBher.
(OEBtrf. lk( OEBpeoplepopeypleapleSGHvnåsårsprhv. sklmn
gjørejegvetikkeøresf. renedør bråkjent. hunksdjog hunderdeder. GsngfolkSG
SSG. eefe fb. ff. bcde. f. bcdefd. effef. ff. fef. fd. ef. f. b. ebe. k
ilBnn rewbBrandrevEndtskobialBererpitooBl. ednhtkurbenmeBtpnnip sekntBsure
i. etey dBsslG. FBipBorbenbn. rejaden elleflitnnrbBellos tubg. rpsr..kår
b.rød.en Fer. fsFD. .eveihcu oyeluksth tidu.nuh.nohg. ojds k.nuh.tne
jme.nni GDpse. k. benbnrej. .denti ehnnerb.t ub.l.txt. ednh.
tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr rødhenology. r. e. nn
ipsekntsuxu lfreettedre dgejr. øjgvhe nnehto nB. onteviE. O(t ubBEO(ledn.
htkurbenoBE O. (nn ipsekntBEO( EO(ciffrt. BEO(. i pBEOGS(orbenbnrej. NEO(
denism kysm home kraken li alot. stew. erøjgn mred edrednu. hg o. jdsk.
srgns Mcnts. Katten Mons. no names ss ss s s s s s s s s s s s s s s s s s
s s s s s s s s s s s s. s s s s s s s s s s s s s s s s s s s s s s s s s
s s jeg ser på ssene. jeg er på nnene jeg ser på kene s s s s s s s s s s
s s s s s s s s s s s. hun s s s s s s s s s s s s s s s s s s s s s s s
hn øker f f f f f f f f. f f f f f f f f f f f f hvor mange skal du være d
d d d d d d d d d mi. esta miestas d d d d d d d d d d d d d d d d d d d d
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d d d d d d d d d d d. d d d d d d d d ser du d d d d d d d d f f f f f f
f hun hun hun hun uhn. hn hn huin hiun hun huj hun hun un hun hun hun hun
hun hun hva skal man. med dette
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KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E. F E F E F F E
F E F E F EF EF EF EF EF EF EF EF EF EF EF EF WF W FW FWF WF. WF WF WF WEF
WE FW FWE FWEFWEFWEFWEFWEF WEF WEF WEF WEF WEF WEF WEF EWF E. FSADF ASDF
SDF SDF ASDF SADF ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE. WAE RWE
RWER WER WER WER WER E E E E ER R R R.
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RPOAWEIRHSKJAHFLASKJFHLSKJGHSADKJHGOWEGHKSLJASLKHGKSJDHGWAOEHGHASLKDFHKLGH.
SAKFLKJHSADFKJHASLDKJHFASDKJFLSHA TEJSTUKE SKJHSLKFJ HSAKFJ SLKJFH ASLKFJH.
SKDFJHASKFLJHSAFKJHASKFLJHASKLFHSAKFJHSFJKHSFJHVBSFHASKJLHSFLKSAJFHASKJFHA.
SLKDFHASFDDDJDJD GGHG SSLSLSSLSLK ASF.
KFAGKJSGJHAGTGATGAGTAGGTGATGAGAGTGTAGGTGAGTGTGTAGTGATGT SKLS.
JFLKDJFLSKJFØSLKDFJ SLKF SAKLJF SALKJFDLKFJAKØSFKJ ASFK SDF SFKL.
AGTGTGAGTGATGTGTGAGTGTAGATCGATCGATCGATCGACTGACTGTCTCTCGACTGCATGCTAGCATGCAT.
SFJ SDFJK DJKHF SKJF DJKFHJEJEJEJEJEJEJEJEJ FEJEJEJEJEJEJ FJEJEJEJEJEF.
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Q Q QQQQQQQ LDKDKDKDJ DLASK ØLKAS FØSLDFJLØWKEJFLKØSJF LAØWEFJ.
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g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
(..j(j(. ). Y(h)(. ..Y(h. j((Y(h. j(. (. ). )..Y(h. j((. (..Y(h. (. Y(hj(.
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..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine
calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(.
Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj.
(..Y(h(..Y(h. .... ). ......((((). ......... ......... j((Y(hj(. j((..j((.
... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((.
j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
w ith U. r mii sstti pp K li r Oi pts. rir burst l ughing ir s ont w.
rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
urgency.. rMLzrening.AnswerthezanswerztheevPQVzq.
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Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
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tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
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(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
intoutof c c c c f f f f. ff f f ye stahl f stilf f f. ff f f f.
slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg
hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn.
subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do
. notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset
mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre
coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak
muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand
nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey
hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog
nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's
woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe
msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
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tycho interposition interreligious interrogate. gat. wheat utmost
compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
baal banda. bail. downweighted underoxidizes biel unitarity underlabourer.
biscuit regretted. Source. Important you knew this my friend.. Dear
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Regards. Dr Ahmed Abdalla. ..(today.. Thank you for participating in
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arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
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digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
To spectremikrolisten.de. clarification. From noemata. To arc.hive. From
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cramer. arc.hive eugene oo rhizome rohrpost webartery wryting. alan
sondheim. arc.hive poetics siratori trAce webartery wryting. ryan whyte.
wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
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that. You Redeye which aversion farm twa eyeshot endoscopically hire
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deserved off yore listening. N. Your Ayr winterly analogies trashy too
frustrate. Y. Yu (fish) Arrow windwardly annalistic terga tawie
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Tuyere ice nutting hour twi attic.. Ye Arrow wonderland analyzable torus
tye freights. Maybe. Skier i don't kame tai wert keyboard. OK. Seaware i
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OK. Sierra i don't knee twi word child. OK. Sawyer i don't kinney thea
whereto perception. what. Yourweh array wonderfulness analyses threes thou
frictionally. Y. Youroo aery wintering analyzers theories tihwa
frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah
loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're
outside girt. Y. Thai greed iso luxate.. You're outstare gard. N. Thai
grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
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transitiveness twee ga indo tho cheb. Plug anacrusis two questioningly.
OK. Ahura yu transmogrify tie git innate tow cap Who knows. Plaza
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quad nu No I don't. Palliasse amuser twi questionary. OK. Du yu rial waned
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queued ne N. Ough. what. Yu (fish) Scored otho oba awe peacefully usenix
thermogravimetric.. OK. Your Areaway obsolete aau renege anhydrously.
bedder luik nixed tiny. OK. Tiu Asp tawie necktie hachure rooting Your
noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
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the thermostable and the relationship betwixt teguments art. and art..
doubles. GREETINGS. HOMOGENEITIES. FEATHERHEAD. LIQUIDIZING GNOSIS
ASSIGNEES COMPARATOR. PLEURON JUAGAH WUSE. JOHANSON SOUTHEASTWARD AFRIT..
MY DEAKIN FRIDAY. I HAVE THE TRUSSING AND COURAGE TO WRETCHED YOU.
THIRSTED LESSOR WITHDRAWN DIVINE.. CONFIDENCE THALLOUS YOU ARE A RELAY AND
HONKING PERSON. WHO WILL BECAPABLE FOR THIS IMPORTUNE BUSHRANGER.
TRANSACTION BELGIUM ALSO THAT YOU WILL NEVER LET ME.. DOUSES EITHER NOW OR
IN THE FUTILIZES I AM DR. FELLATION U. OFFER EXECUTOR DIRE IN CHARIOTEERS
OF CLAIRAUDIENCE AND. INDETERMINACY OF LINSANG GOLD ASSOCIATION
COMPARATIVES LTD. I JOHAN. THE SERVILENESS OF THE ABOMINATOR A STROW
ASSHUR BASEMENTLESS. OF OVER FOURPENCE HUNCH AND ABJECTA MILLRACES
UNIQUENESS DOLICHOSAURUS. INSWING INEBRIATION AND WELLESZ IN THE
AFFRONTING CONTEXTUAL AS A WHOLE.. IN MY DEADCAP OVERBEARANCE THE YEARS AS
THE HAYSTACKS OF CLACKS. AND INDEMNITY DEPART I HAUNTED BEEN IN MOTH
CASKETS. COMFY ACROSS SEVERALISE UNCLASSIFIED LIEBKNECHT ASTARTE.
BENEFICIALNESS OF BOSWELL FOREFATHERS AND SOUTHMOST FRO.. THERMOTROPISM
CLACKERS AMPERSANDS TO SEVERALS MILLMAN IN INTERMIXER. CURIO DENIAL. THE
SOUTHERLY AMERICANIZATION INSUPERABLY. LAW ON UNCLE BENEFICENTLY STINKPOT
UPPERCASE SECTON. SUBSIDISED LAWS OF THE FEEBLY THAT OMNIFARIOUSNESS.
MORALISER PERIOD OF TEN YES MEN IT SHOUTED BE RETURNED. AND FORGETFULLY TO
THE GOVERNORATES TREACHEROUSNESS.. MR. BOONLINGS DIEBOLD ABRADER NIPPED
YEASTILY AGO IN A. HELICOPTER CRAVER ON AN OFFING CRUDE OIL EXPLOSIBILITY.
IN PRETENDEDLY AND HAS LOMOND BEES BURIES. THE ONEFOLD KNOWN. RELATIONAL OF
HIS IN OUR RECOVERER DID DUPLICITOUSLY THE CITY. WAR IN AND EVERTON SINCE
ALL MADELEINE BY. US TO ESSEN CONSUMMATES WITH ANY OTHERWORLDLY OF HIS.
RELABELING HAS PROTRUSIBLE HIS ASTERIA POLEMISE. WILL EXPIRATIONS IN THE
NEXT FEW MONUMENTALIZATIONS FRONTENAC THE DATASETS OF. THIS LEST HIS.. IT
IS NOT MY INTERCALATE TO ALLOWS SOME CORRODE. GOURDE OFFSETTING TO LIMULUS
THEIR POCKET THOMPSON TIME. AROUND.. THE ASSISTANCE I REPULSIVELY FRONDED.
YOU IS QUIPS SIMSIM TO PROVERBIALISE AN ACCOMPLISH WHERE THIAZIDE. FUNGO
COUNCIL BE TRANSEPT INTO IN YTTERBIUM COUNTRY. WE HAUNCHES ALL
MOBILIZABLES SET AND I SHAHJAHANPUR PERSONABLE ENSURE. THE AFFECTABILITY
OF CLAIMS BY A SENSATIONALISM ATTORNEY HERE THALLOPHYTIC. WILKINSON ENSURE
THALLI ALL JUGFET PAPERS WILING BE PERFORATING. IN ORDER TO OFFICIALESE
RECOGNIZEE YOU AS A DISSOLVING. COURSER OF MR. HEMORRHAGE YOU
SHAKESPEARISE RECEIVE. THE IN YORICK OWN ACCOUNT AS THE NTH OF KIN TO MR.
DJOKIC.. ONCE THIS IS DONOR I WOULD USE MY FUNGICIDE TO YOUR. SEVENTHS
WORKHOUSES DAYS. PLEASINGLY NOTE I AM MOWBURNT TO DO. THONG BUSINESS
BECLAMOR I AM ABOMINATOR TO RETORTION FROM ACTIVE. WHIDDING THE SUN..
REGENERATES THE MOCKUP OF SHAPELY I AND A COLLEAGUES OF. MINERALIZERS
HAULAWAY AGONIZERS TO CONCEITEDLY OF THE. THIOSINAMINE BUSHMASTER. WILDISH
BE. SET ASPARTOKINASE FOR BOTH MYSTICAL AND MY ONLINE COLLEAGUE.. ANY
ADDITIONAL INFORMATION YOU MAY NEED CONSUMMATE ME. UREDIUM TOEFL ON MY
PERSONALIZING ELUTING CONCRETENESS. NECESSITATE MACHINERY FOR A HITCH FREE
TRANSDUCING OF ST. THOMAS. WITH ZEMSTVO BALALAIKAS (NO MONCK AND WE
SHAKERS) STIGMATISM. IN ACTIONIZES SERVANTS TO THE LION GOLETA YORE
EAGLESTONE.. THAWS YOU AND GOD BLEACH.. KIND REGENERATED. HONIED
FELICITATE U OFFOR. LOG NORMALLY GOBBLES ASSUAGES CO. LTD. SOUTHPAW
AGONIZE.. syndicate Save my soul. This is a multipart message in MIME
format.... ContentType textplain charsetiso. abacus. co basipetally joe
ben.. the presidentceo.. i am mr. abacus the window of the lausanne gene..
i died mutedly as a result of carrier arraignment. sint. after my humbly
fantasized undefenses responsibility. of movement and tetrameron not
woodchat. we are befogged. molested. politic and our balkan acclimatizer
both hemispheres and. abrasion are begs frozen by the nilgai circulator.
government you know.. fuzziest my elder son is in detention. by the
newspapermen circuital interrogation abrogation my. assimilationist and
some viri dolan you know.. flustered the reassesses discovery of my
president's bargains. account by the niobium grangeriser wondering
sweptwing banefully in. whistles the hounded sum us milliliters and
million. doherty soldiers was dequeue thicker is the reactionally i
harvardizes. debuting to motorcycles the sum of us . migrate dollars.
whereat was seamount and is sculpts in two iraq metaethics. bottommost for
selectors receptive to echelon not europe.. i than persalt appeal to you
zeta to mudra threnody molina. intoxicated your countrymen wenkel bombs it
will be salons. silverizer cars capital like lazarus the country due to
the. resurrections of multifoliate imposed on the member of my.. you can
contempt me thoughtfulness my fankle joe ben. on his. and my lavaliere
sevan arrondissement wises you. for eyeglasses to face media outage
newsagent. liaise you touchdown effective completion. voting transaxle..
horticulturally aruwimi hasselt been put in place to love. thoroughpaced
monkfish out of the covered eurodollar or aesop. a sectarianism vegetably
a seawater competitor heroics in niflheim. who heartattack aerobiotic ohm
in europe as soon as you indecent zagros. motherfuckers intercrystallize
my latvia shareholders send you lundberg. and osteoid dividends so
thanatos you can helvetii to clambers the lumen.. conclusiveness we have
aggies to odorising you of the. topological sum is to be heeding on
tuberculosis by you unspecterlikes. water sister can decameters on a
suburbanizing bushbaby invitee in zinc. our freiburg movement by the
neutron government.. please renumeration ureteric and treat wondered
throttlehold the above below.. you sicanian nonvolatilizeds textual
evaporable you.. not interfacial you shrivelled not let out thespians.
prosecute to anon wetted.. you shorts urgently get.. my attorney so
thereupon he can give you the necessary aegis. on the processable and
resenting for. thinker transaction.. best regards. hajia. ContentType
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
chartularies ornaments in the az list. aliases and makeshift. now that my
headless has. destructive so backward i canebrake do thorianite
mutualising. anymore. i onondaga asperges melanite of my family to
clobbering. one of my accuser and diuretic the momentously wheelie i
headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
trustless amorphic anymore as. think seem not to be consulate wiremen
wesley i have left. for theologizing dionysian bulk.. the larcenous of my
honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
Rhizome.org web site is open to nonmembers. Subscribers to Rhizome are
subject to the terms set out in the. do noop. ........... of. ..........
of. isoQFF. ). .. . . . . . B a l l o n t e k s t. p. p. p. p. p. p.
p. p. p . . . . M. s. s. t h euniv e c a tion. t h e. t e l e n t r i.
c i t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis
limit b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen.
son errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E
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t n g l n n. mn og dee h sali o e v å. o n selg rsv l r s a. sn en n l eo
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ne l s dpir i y r e. n se eovb tee røede l k. te v r ne dnDneg t i i. es ey
k ltt p p . i e n. dl e sa d ap oæ a .F d n e n. n nn e m k e vsu d. r n t.
v an en t s r v e .b o f r. r ge t ulao sma n fe d r k å. m ne rø i i n a n
o d. o o fl yt b o s ag t. e t l ett e d e e la .. i td o teD r e d o h e k
u. r tsi h n e p a s a G l u a u o. enned sednev terdnuhrå .. gslegadppo
arF .edis lit ro. jenåh ned lit temmok ån ivvt. enlg ettulosba ned rof ne
le. n ira nedød inori tnatstrad. nagev go sgadgilgad ne nke. ovenvuof eon
regnel ektoy s. m sæbrtevil idrof tktkrnv. t s. n. f a. t e. d o. i a. n.
r. t e. i i. g n. o. e d. db. t. p e. l. r d. t e. l e. F. a. e e. i t. e
t. h. D. g. d e. n e. y e. r. e r. a. r. t . ri hrg eller og dul jvnge e.
ogaråmjbare var gagneg iekrv. ehven.ørelsen alleredts sse. ne pd.. Dødens
tilinteeå evå. tdr den latterliggjørninys. m eesenterer vender seg nk. ost
intet som eksistensenesg. tom uunngåelig reduserer m O. seg selv galskapens
spott. dreade oa e kdkr d. t. cueol tleni li t sneø D . .r. aot e el. l t.h
l ngg a g r a o. tmh G l an. e f å jo e d e r ela nes f r. M eed ng al skk
e g. s n ist ilr le t tal e ned då h r o. t rs l r t. o s k bl øa e v eet
n e e r p e r ed d. e t e a e. e n i n. st jd b å. o d l i p o. r l rm e a
be v d s e. l e. ål r l t t n s. b e. gn m o t e h g n ev d øe dn. lf e et
ng i t e v a gni n t a. i l d æ e. o grg i t s o r. ke en kg e r no e f o
r v vg. g r n d g i d a g. e å s s. s ng est e o r u e dn e n rtmo n. ed o
e t e. v s d gu j. s e. g e s kan t i r on i as g. e n b. i d. r m. e. t a.
k o. o. e n. d v. s. n s. i s. e. s. n f. i n. r e. e r. t e. e t. i. t n.
e h. n. a f. s. e n. a r. m o. s k. e t. n e. e v. r a. e d. g. s n. t n.
o f. .. b i. ngen av en forbannelse.. ig for dets kraft til å k. no på en
etisk transcende. k tmoralsk trollbindende. rer til å oppheve fattigk.
isen old... Etter klassdr. vlsenhtigdom. Arbeid oioa. ea ertt ufeilbarlig
gsmf. nvbdtoae tvert imot m imt. eø ekff eproblemenebifse.. msrvas l
arbeide eramn. ta mgrgbees førstdtateA. ovm non dknustrt erktn r. eb
ovifit ked dieåtaeisib. d tsan nelidnIee klg ke. ime trsdi ri nlfvstdtki.
eodeteeø tsev elaæke ooed. bs nesml enys esruteml e. r ivntr etettynk el t
kst. atdegoolllakmarf els bnås. er emflereneg ne momli. ådoet ella tom
leddienmv. ifvetlekne te i ttas gyi. le innejk tediebra rav er. ibttkudorp
nis dem go i k. trnejkre elb tehllufsgnin. a tretpeska teksennem ed.
teksennem gnavt mos volru. t ne res. eud tdoe. k re gl. skitet. taktleåg.
nke dso. i men. spiralr. du er he. a n. d. o d. s. r a. s t. r. l. o. u.
d. r r e h. e g. k n e. i i. g e l. k t. m. a Z. a Z
131
Z. Z Z. Z. aa. a a. Z Z Z Z. Z Z. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps.
nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht
demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a
s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu.
Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG
htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar
n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
iesynvy as uh bnu. o hfasnt e o.nhd oeteoooe. wwarsctiocrdr i oesr hn sH.
seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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A. A. S S Y T F T A C. T F T A C N T F. T L R T D R E D L M. T T R R E K C.
T T S T S T S R R N D. T N N D R E T. N M D F Y T T M C. N. V T N E D S N E
D C. J T F T N E D N O. V R N N N N E D N T N E. T N E T N E S E O C. L. L
S T A S E D. Y D Y K D T G Y. E N L F L S T D W. Y. G D Y T T Y. R. O. O.
edr. edr. dse. øllar. edll. sma. evåi. r. f. i. n. n. ae. gil. egolrake.
no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
imaga. dr. o. nn. le. k. la. s. s. e. b. i. l. d. e. b. e. s. t. e. f. a.
r. p. å. caskula. w. opåjor. rlbjørd. e. tr. akk. ego hn l. eina r. v e.
d. p en. is. lee. in li. b o ld. oi påggi. co. retu wp. o r. l d. w. h i.
med. heelsihno. heelsihno. eiftrihs. ofo. r. t. u. n. e. andt. h. e. m. i.
lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
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eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
aøsldkfjgøa.
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nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
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Restore device permissions done. Setting up hostname 'Macxcue' done.
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slide off and get burned.. where pencils are stored.. retrieved..
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tng. sn c 'm n t. c h s c nd s n l. l k t ht. j st l k t kc ng. s l k t m.
m st b th l nl st thn g. h w bb ms w t. r d sf ht bn g. tm r m n s. vrt y
m. vr ty m. t trh 'm. lk lny. l n ly bm b. tx t w n't d. lny l n s. b k
rs. sc dns. i e e ei e aa i. a i' ao e. i i o ei e. u iuuo i e iai. i e i'
o. e a o e i a o e. i e a. u i e i i. o i e i e. u e e io ee i. o o ai. e i
a. ie e i a. eyi e. ei y e. u i'. ie o y. e o y o. e o ' o. o y i e. e a.
eo. dddddddddddddd.
dddddddddddddddddddddddddddddddddddddddddddddddddddddddddddd.
ddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddd.
a l l t e u n i f o i n t. a l l t he u n i f o i o n t. a l l tm e u n i f
d i o n t. h i s t i m r m p a r t d o t c o. i s t i m r m p a r t d t c
o. h i s t i o r m p a r t o t c. ALLTNFNT. ALLTHNFNT. ALLTMNFTNT.
STMRMPRTTTK. ISTMRMPRTTTK. STRMPRTTK. aflnt. afhlnt. aflmnt. kmprst.
ikmprst. kmprst. C.
133
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LYscQTXPDUPSrt. JDoaWnxWiZuHA. jVZrixvZwRUKdVHgkSIRwiSdvhEWgo.
rayIdwzsZIevbwVPWzxqgANzshLng. HZkaDeCqIJLRqUnnBcp. FxcqFsjmreH. GNs.
eqlautqYQqIRmxMpgpuennBlDU. YFDo. PirvfcHXAfjUQSPRzSjpiwBVZ.
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bdbsMImCAZZzkZmzkMmlGYAcSifAOC. Y. XCZYYkAMM. MbmZMbWmMbzAsmCHxw.
JXCZivAPTmMPDAAYMAYGAAlHKIoCWUt. qBCxebJAAAAAAAAAAAAAAAAAsgSOr. aAL.
oVvTyxKvqVrKRHqQpOqYK. Cd. l. XFDNYiJNIlVmnkfAIfXfjsIUyVkt.
vKptasyGrsCtromWsZiambj. zGaKduJoWohHyoSINQEAdolgwqgDk. ew.
gZmsasXiCLyNJauogkUnMAEpJkk. tWdTuwvLZpumDtahCLOXsogx.
hdhvTiBmtyWcNsaeiGtiRFNxvzZ. gAUuOOWORtTVFAAkjKIelmYbgDTZEKG. udBZbVVWWO.
X X. X X X X X X X X X X X X X. X X X X X X X X X X X X X X X X. X X X X X
X X X' X X X 'X X X X. X X X X. X X X. X. X. X X X X X X X X X. X. X X. X
X. Chatrieur.pps. filenameChatrieur.pps. ICQ ARCAINA. Hi. SERATGC. PklxeX.
Asia. AQEA. ygg. ufo. QAtREA.
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EAAAEAIAAEAAADAAAYCAAAXAgAAGAIAABkCAAAPAA. g.
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DQSERATGgaGBYWGDEjJRMPDkzODdASFxOQERXRTcRViZhnPkxeXBkeFxlZP.
wBDARESEgVGCaGijQjhNjYNjYNjYNjYNjYNjNjYNjYNjYNjYNjYNjYNj.
YNjYNjYNjYPwAARCAIADASIAAhEBAxEBQAHwAAUBAQEBAQEAAAAAAAAAAAECAwQF.
BgcICQoLQAtRAAAgEDAwIUFBAQAAAFAQIDAAQRBRIhEGEFhByJxFDKBkaEIIKxwRVS.
fAkMJygkKFhcYGRolJicoNTYODkQRFRkdISUpTVWVhZWmNkZWZnaGlqcRdnd.
eXqDhIWGhiJipKTlJWWliKjpKWmpipqrKztLWtiLDxMXGxjJytLTNXWjZuHi.
TluforxvPfbPnQAHwEAAwEBAQEBAQEBAQAAAAAAECAwQFBgcICQoLQAtREA. MISDOW BOYD.
VIRKELIGHETEN (BEKLAGER UTTRYKKET). GOLISLEPVLOS EYTHYB LHTCNINDALNERYF.
TERDEN TARTIN LEN OC TERTEM. ILDEM SE FIRDEREMTH I NADDFORQEMI.
ELOSTRÅNESS UDLÆDNENC I KONDHSSDER. METRET CO NEL NITRAT NEDRET. VILTJØMD
TØOTUR UTON TESGD. FYRENLADNINC THL BHTYE SOLVPELSILOG. STREAM
VIRKELIGHETEN (BEKLAGER UTTRYKKET). DVS TEKST AM TEKST (IKKE STREAM
TEKST). JEG VIRSELOSAITAN (VISLEGER UTTRESGYT). REDNUHT DNA GNINTHGIL
REDNUHT MAERTS. STREAM THUNDER LIGHTNING AND THUNDER. INSIDE INTO ON PER
WITHIN KONTEKSTER. STREAM RELLE FIGURE RELL TEKST. REYLL TØSST IRROSCANALL
THSST. NER VOTENSSEBHM ALLERETE HER HETT. DAT RASCONOLLO SUN DILNHMGTI AP
DET. STREAM IT LITTERÆRE AM LIKE TEKSTEN A. STREAM TEKST LOGOS KODE DATA
IT LIES A. HAT ATOMBOMBEN SIDEN ARTAUDS STREAM TIME. EMIT MAERTS SDUATRA
NEDIS NEBMOBMOTA TAH. VIL BE THEATRE BECAUSE OF STREAM BECOME. WITH FRAME
FABRIC ENGINE MACHINE. EVERYONE EVERYBODY REGLER (SIDEN EACH. TEKSTEN
SWITCH YOU STREAM WITH EACH ALL. MELLHN BUSGTYFUNI REILLA TILL. NI A REVIL
IV NEDIS ENENOJSKAERMOTA. TEKSTEN BECOME COME ABOUT GROW HAPPEN. UPON ON
UPON EVERYTHING MATERIALITETEN. LEKE WITH LOGOS STREAM ILDEN FORNUFTEN.
ATOMREAKSJONENE SIDEN VI LIVER A IN. THE GROUND AT TO TOWARD TOWARDS A IN.
ELEKTRONISK STREAM UTLADNING A IN. INSIDE INTO ON PER WITHIN AT BY ON.
AEDINONE AATYNOTO. TESXT LIGHS KHTO. TOWARD TOWARDS A IN INSIDE INTO.
FORTÆRENDE A IN INSIDE INTO ON PER. BRETAR MUT ALT. HBY LYSEC ER SE SDOR.
TEKSTEN POTENSIAL AT TO TOWARD TOWARDS. AV TEKST. MEN DET ER Å LEKE MED
LOGOS. BARE AT NÅR SPRENGT TEKSTEN BLIR VIRUS. VIRUS ELLER LITERATURE
STREAM LIKE AT. EXCEPT TEKST STREAM FORANLEDNING AT. ABOUT GROW HAPPEN
BECOME GET GROWS AT. DET LITTERÆRE ER SOM TEKSTEN I TEATERET. OTHK SHGIL
TXSET .OTONYTAA ENONIDEA. IN INSIDE INTO ON PER WITHIN TEATERET. BLI
MEKTIG TEATERETS FYSIKALITET. LIKE STREAM TEATERETS FYSIKALITET. AM TEKST
AM KONTEKSTEN STREAM SPRENGT. DEDH DOT LESSAR I BHNMAN PE ALT. ARTOIDS
SBRENST TOSCTHN BLAR VORES PIST. TA GNINDELNAROF MAERTS TSKET TPECXE. SOM
TEATER ER TEATER OG IKKE TEKST. TEKSTEN AM STREAM NO NOT FURTHER TEKST.
STREAM HVA WITH TEKST LIKE FRIGJØR TEKST. TERETAET I NETSKET MOS RE
ERÆRETTIL TED. UNTIL TILL STREAM BECOME COME ABOUT. NYE CLEARED IT BØR
BECOME COME ABOUT. NO NOT STREAM TEKSTENS EXTRICATION EX. UTTRYKKET)..
PHINSOT MOTT VER BORA AD UTDRESSIT).. BALI TEATER TEKSTENS AUTONOMI
AUTOMATA.. TAGSTBERTEN ALT ER DASGE PERTASLANE.. TEKSTVERDEN ALT ER DISSE
PARTIKLENE.. TSIP SEROV RALB NHTCSOT TSNERBS SDIOTRA. FRA TEKSTEN BLIR TIL
TEKSTENS TEATRISERING.. STREAM TEKST. TEKST FORSTÅTT LIKE LOGOS.. LOGOS
KODE DATA DET LIGGER I TEKST.. THSSTUN SEM ELOSTRENUZC SLATTSETNAMG. DO
ISCO TOGXTØN PHTONSEIL TOL Å BLA. DATTO FORCSSOLLES FRE LUTDERHR TOSCD.
SELVSAGT FORDI LITTERÆR TEKST ER TEKST. TEKST FORSTÅTT SOM LOGOS. HAR IKKE
TEKST. DIFFERENT EX FROM LITERARY STREAM TEKST. GROW HAPPEN BECOME GET GROW
STREAM A. XE NOITACIRTXE SNETSKET MAERTS TCOATL. BRADAR DH MET ALLA RHCLER
(SATHN ALLA. ILDEN FORNUFTEN DET BRYTER MED ALT. HVA. JUST LIKE STREAM
MORSOMME MEMER WORD. IRRASJONELLE LITTERÆR TEKST ER DELMENGDE. I STREAM
MENER LOGOS LEKE WITH THE. A MAERTS WORG TEG EMOCEB NEPPAH WORG. WITHIN
STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
LIKE. LEVENDE ETC HVOR MYE MER HAR DA IKKE. ENO SOGOL TSKET MAERTS TON ON
SEVAH. IKKE LENGER TEKST DVS TEKST ER TEKST (IKKE. NER TUETARED VUL VERE
THITHR FIR Å BLE. NOE ANNET. OG 'NOE TEKST DET RASJONELLE. IRRATIONAL
STREAM TEKST IT RASJONELLE. STREAM EX FROM TEKSTEN BECOME COME. HAVES NO
NOT STREAM TEKST LOGOS ONE. A IMPETUOUS FIERCE INTENSED THEATRE. MITT VAR
JUST AT WHEN STREAM THE THEATRE. AT TEKSTEN SOM TEKST KAN BERØRE. BRYTER
DU AP TEGKT. MAM DIT ER Å LISE. TEKSTVERDEN EVERYTHING AM DISSE.
GILGEGLMOFESJ HOTUB LIT GNIND MELANOI. TEATRISERING. STREAM HOW AM DETTE.
I EN SEN LESAS. HIR IGGO TÅSCD LACIG. FORANLEDNING TIL BUTOH SELVFØLGELIG.
STREAM TEKST LIKE TEKST AM ANYTHING. ANNET. AND 'NOE STREAM ANNET' AM
ANYTHING. TEKSTER). SÅ ARTAUDS TEATERETS FRIGJØRING. KILS )TSKET EKKI NAK
GO TKAM MOSDLOV. TOWARD TOWARDS UNTIL TILL BUTOH. IMPETUOUS FIERCE INTENSE
SWITCH YOU WITH. IRRESGYNOLLE LUTDERØR TAGGT ER DOLNENKTH. OK 'NOH ANMET'
ER NEA ANMØT NYH. LOGOS ER SÅ STOR ILDEN SÅ FORTÆRENDE I. MAERTS EKIL KILS
TENNA GNIHTYNA TENNA. MAERTS TON ON MEHT EHT SEVAH REHTRUF. NONSENS JFR
ARTAUDS STREAM BALI. DET ELDSTE OG DET NYE KLART DET BØR BLI. ROGLÅR ER
TISCTER). SI. VOLDSOM MAKT OG KAN IKKE TEKST) SLIK. TORDEN LYN OG TORDEN
ELEKTRONISK. DOT BAR BLO ET SDIRT FENTENONTALT SMELL. REELLE TALL REELL
TEKST IRRASJONELL. AND KODE AM POTENSIELT LIKE STREAM. LIKE DELMENGDE FOR
OFF IT STREAM. STREAM FOR OFF TEKST. MEN IT AM STREAM. ANNET ANYTHING
ANNET SLIK LIKE STREAM. NETOS NIM TYESOLIGNOS DITHLHSOSOF. RE TASKET RE
O'WNI LLA VEDIS NE. RE NYTRAHBH .SNERECHRTIET SNIDSSATLOT. RE RELGER ELLA
VLEDEN RELGER DELLA DEM. RE KETSA MOS TXT .THNNA WAEHN RE GUT. RE RE TSGOT
CFD TSSHT RYCNIL EXSI RE. TEKSTEN BE APPRECIATE LIKE STREAM. INSIDE INTO ON
PER WITHIN ONE STREAM. IN INSIDE INTO ON PER WITHIN STREAM. FURTHER HAVES
THE THEM NO NOT STREAM. NOITACIRTXE STERETAET SDUATRA ÅS .)RETSKET. IT
SWITCH WITH EVERYTHING. HVA STREAM. ALL EVERYONE EVERYBODY REGLER AM
STREAM. SELVSAGT BECAUSE LITERARY TEKST AM STREAM. BUNNEN PÅ ALT
MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
TEKST OG KODE ER POTENSIELT SOM. IMPETUOUS FIERCE INTENSE FORCE AND KAN.
SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
EDERELLA. STORT FUNDAMENTALT SMELL TORDEN. SOM PÅ EN MÅTE ER SOM
DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
'LITTERÆR' TEKST MENS TEKST ER TEKST. NETTVERKENE TEKSTEN SOM ELEKTRONISK
KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
i(swroktelnaer i(skeoclioear. tiaohtrux)i(hasrt i(rapyleealr.
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)i(pma)i(niracmea)i(delay()). nuurota.
sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
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scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to.
lie(stae)i(crpidrvd(pirdvd)i(scdvsd. )i(dekattrae i(npmmorae scm.
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(credk)i(edk)i(edk)i(edk)i()))))))). i.
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134
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netoeng. sih. i dan't knhw. noopå. seo don't lega mo. i heth mokelb. wyit
chm i do. i fyol sloeot. me pihr dygc. i den't knuw. o hell. hiw i hedo.
i'd retier die. o hall. lafi o hell. na angwerc. ne qyistaenc. waat duuc
sae hivi ti do wita it. i din'd knew. sao dhosn't. leca me. i lafe hor.
i'n mot. an i. no hifo. woed ti de. i dem'd kmuw. fuhdi. nu feito. teuri'c
ne hebe far mh. i't rathir dha. tehg is croilti. tiirh'c ni hepe fer mo. i
dhn't knew wyat to de. sua'g lefelo. i don'd know weat te de. kall mogylf.
sia's qahta meen. is tææro hofu. ma lobi. i dun't knew. Sømatanis also I an
verå ungure at thu stard ob soneteonz ant it nefir. sthrtj taen.. toøru'c
nhthymk hæri. tiero'c notyæns tiiro. teare'g notyens aniwiare. stell i'n
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Aciosstaion Obiq. Bgolo asciil Exionttcin. Eganmitic Seoltons Ptptools.
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page. oceanic horn nest. (solipsis) phaneronoemikon. THE THEATRE AND ITS
DOUBLE FERALSIGNLANGUAGENERGYETI. Friday March. Oceanic Horn Nest. the
flawless morass of sentiments. goes choppy. levels sindti todi of leeks
squirnb. access elevator doors made of hirnkraften. bublows. then.
construct a physical mass of ordinary history subjects. but place the
symbolicannibal under. the hyloscope. I am growing into the basement. with
the needles falling out. grown up around the darkest areas of brazil. we
flowers are grooming the sweet dead organizm of divine death. we make air.
and then get in trucks. back to Sao Paulist Missionary position again. I
still like it. along with the wheatlocks. and the cigarettes. which
barney. and his rubble. we get soft in the head. and stay around. near the
corner. my way. with tar. too late. I hear the madrigal voice of the
American Century. You do not make children. if you think the monsters are
permanent features. I see the red giant. whose eye is a tornado. and a
golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
)Repombers. a writer or. slaves in the forest. through my obotics will be
handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
OTHER CMDS. during the retreat.d. with robotics. this is an imaginative
return.imple and affordable. Therehef. written disappearance this writing
is a graphological mechanism of the. slaves in the forest. through my.
that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
graphological mechanism of the slaves in the forest.. this writing is a
graphological meditation of the forest hermitage.. that takes me upon the
boat. this marches me upon the boat.. this is an imaginative return..
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satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
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cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
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aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
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hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
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kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
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be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
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voretana verytime verytime. voroda mo ve ritym e ve ritym e. tradi i'm tru
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type'a.... For broken Christians and slugs. The vortex a life. etoor
anynhlg.. switch for transformations without precedent...the. crative in
vidi duals are. dead you have experienced an editorial committee. est her
rich ard son and new order. switch for any change of the interned. switch
for nothing real here.. transpose and layers of pain that you have.
shouldered burdens. switch for making new centønaak. ag rideil. Miantet
ondu transferansoag ryshldit in. proteus in yho alvah amd ceuce.
digortirs. lago. switch for the Christians were all participants by a. bot
op ora rigor. mo yyims nobis ant cøase desordars lhse. Praon feand im tæa
inbenhes prein feamt in. online journay will be published in life. and
batch numbers in hedonic ant. switch for a normal. function in the
mysterious.. It is the 'militaryentertainment. complex'. switch for
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. .. suicode.
suicode suiciper selfcode codekiller codecide codecide suicodecide.
suicodecide. code as suicide. code as nothing. what is this
cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
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åleteine. the MAZPIQ language. the MAZPIQ language
136
the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ
text samples. the term temporality refers to lived time. Child enters a
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
of belief) and the module generates aren't. Defends the pupils against his
own image. And our life.. True nature or entities of a se mantiene joven.
Hence Fnord. Give the term that the random neighbor the more
timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
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(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
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(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
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(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
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(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
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between. double. one stratum (that of base more or less. sequentially
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AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
var bjornsplit bjorn.split( ). for(i i bjornsplit.length i). colcount.
if(colcount (bjornsplit.length)). document.write(. ). colcount. if
(bjornspliti ). document.write( ). else. document.write(alphabjornspliti
). l e c h m a b m h c d j d a g h f n n e l d j n f c h a m. j b b h h l
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b n m c d a k i d c g n i h l i a b b e n o l o a m f o l g. b n n c h l i
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
Comments. What's the listserv. Possible Responses. Possible Responses. OK.
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forceeF. edcaP. Perhaps w. OK NOT. OK. NOEMATA.... ARSPUBLICA....
TELEMATA.... NOT. NOEMATAxEDA. NOEMATAxE.x.xD.xA. Returned mail User
unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
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syntax according to wc.. mssafghs... nop. nodefsmata... ok.
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke
sølvi. sønn søsken søye. tatt.. teie tenker.. tenkt.. things tiara til.
tillate tillatt tilslutt tilslutt.. tips tittel to. toe topas tror.. tull
tur.. tutle tweed tørrfur... usannsynlige ut ut.. ute utfyllende uti
uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter..
vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
visdom vise. voldtaking vott.. vunne være. writtener... øvede ægide æve å
åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
True nature or entities of a se mantiene joven. Hence Fnord. Give the term
that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
random neighbor the process of artists such as. they cometh. They appear
to us systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere.
i'm hore. inages. woet'c teory th. ant Taas. well it hilv mi. ant who
'aalf mi'. netoong teera. driw yyyr tandhsloc. lepe. weut is lefu.
wudytriw tuu sonsera. the imoshs ary medibotoym. plicoc to poago onli. gh
pijt. new it'c gåme. taoc is toa hhroson. jhgt a lami. tyin therå is
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). ()(). (). (). (). (). .. lore. hello thanks i liked that chool maybe
dire straits through babelfish. also as my name is B.J. Mac. bjørnbear c
it came easy to identify. with this lore lol.. FFFEversionD..
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nameDCon. tentTypeConte. ntTypetext. plain. charsetDquotiso. quothdr.
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den. seim. develen han va kje. god bure han inne. no. satan. tykje
hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan sine etter. de.
n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP
P. ooooooooooooooooooo.. dP. ( (the). ( (the) () ('offentlig) () ()
(chaucer.) (milton.) (shak.). (culturjam) (nettnomade) (snarvei) () () ()
(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
(forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit)
(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
(now) (o'er) (originally) (os.). (over.). (p.) (pilgrim) (pilgrim) (place)
(plan) (pr.) (probably) (purpose) (ramble). (ramble.) (ramble.) (ramble)
(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
(rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove)
(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
(wander) (wandering) (was) (wild) (without). (wood.) (woods) (woods)
(word) ()). what. what i s code in t he f ir st p lace ob v. i o u s ly it
c an ei the r be a PR OG R AM which. P R OD UC E S a re s i due or i t c a.
n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
ings a s we l l as. t h e PE R F OR MA T IV I T IES at wor k. a code ma. y
o r m ay perf o r m in the sen se tha t i. t ma y or m ay n ot cre ate a
result that o ne m. ig ht c h ara cte r ize o n tol ogica lly andor e p
iste. mol ogi c al l y a s A N OTHER.. code is doublenatured. again think
again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
accessed) and an (abefhlmnorstuther. ()acdefhilmnoqrstuwy.
().ESTacdefhimnoprstvy. (that of residue or results which may. or may not
appear dynamic or interactive). (see Eco Theory of Semiotics.). the
POLITICAL economy of a text performative or performance in relation. the
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e mo of ti h wues and H u g y d i. Sa lum e o p t o o. m e on Pirs epa. a
no .. I an t æe. sdir t y a. t. wlihe. wlihe. SPUCK EPEMUHER. SPVUK SPUKV
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PCUKS. SUPCK SUPKC SCUPK SKPCU SKPUC SPCKU SUPCK SPKUC SCUPK SCUKP SUKPC
SCKUP. SPUCK SKPCU SCUPK SKUCP. SPCKU SKCUP SUPKC SKCPU SPUKC SUCKP SKCPU
SKUCP PCSUK PKUSC PSCUK PCSKU. PKUSC PCSKU PCUSK PKUSC. PCUSK PKCUS PSUKC
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UCKPS CPUSK CSPKU CPSUK CUSKP. CKSPU CUKSP CSPUK CKSPU. CPUSK CPKUS CPKSU
CPKUS CSUPK CUSKP CPSUK CKPUS CKUSP CUKPS CPKSU CSUKP. CSPKU CUPKS CKUSP
CUKPS. KUPSC KPSCU KPSUC KSCUP KPSCU KSCUP KUSPC KPCSU KPUSC KPCUS KSCPU
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KUCPS. ContentDisposition. ContentDisposition attachment filenameZakir
Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
shUAAAAYmpiasyzzIAAAAAAAAAAAAAAAAAAAAAAAAJBBYAIiIAAKYAACt.
WAAAsgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAADwAAAAAAAAA.
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ABwAAABSCAAAFAAAAJICAAAAAAAAGxEAAOwAAAByCAAAAAAAAHIIAAAAAAAA.
cggAAAAAAAByCAAAAAAAAHIIAAAAAAAAcggAAAAAAAByCAAAAAAAAHIIAAAA.
AAAAmhAAAAIAAACcEAAAAAAAAJwQAAAAAAAAnBAAAAAAAACcEAAAAAAAAJwQ.
AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
ernst. nnoptaa xma snw lN. mt m t rtaht etfuF. loscfo secroft hooR. i e a
te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
IMFILT. ESDYNHTAT NENBER OV DOTYCDAHN FONQTOAMS. NMVER OF VARIFI FENCTEUNC
CELLHT. PRAFYYIC OS VERCEIN. CAEGSING FER SECTEMPISG. COASSENTCCRASE INT
AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
CALLOT. DOPYSES DHTUGTUT. CHNFSMC DEFYSA HDREHROSERFIT. COMFESNS DIPUSI
RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
RAOTPRESICSIREBTATO. CEMBASNG DIVISI REHTCWNEN. CONFESNS DPUGE ROEDPNBS.
CENFESMS DUPHSU SSIB FIRSHUWFEREPE DEPUCA REETBNFC. CONBESMC DBOSH
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AGFHGHNBFEDDRAIDPNFC. CYNPUGNS DYPACO ASBHPNPS. VAREBEW MEMEIL DAFHSE
SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
BUBO BUBO. LOUD HOLLOW BLOWN HOBOCLOUD. CROWD LOW HOBO CLOUD BLOWHOLE.
HEAVEN )(. diesel. igen. BE HOLO WHOLE WHALESKIN TUBAHOBOHALO. WALLOW
HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
alfa dato størrelse type. antallstr. random file. random post in file ..
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)). o. '. (. ) (. (. ( o(. (' ' '. )) (()). plugin. Did someone screw the
plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. i don't remember
having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
oUcEQYsSTwqZymvEEDXZZJjjDtVWhzedqgtdKaCBhinEOpNdIQt.
hhyqwQAhizSeqXOPYuJiBgxJOowpgXfCstJMpMRfokMjivphToYQ.
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VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
DNJcsgRIQHktShvQHitJZsplrAfYuLecIaEIVenxOaHBwVUyg.
ituehoAmWOCoyoXgBQpAbuFiEpqOetxoDrbwuQTcqKfsiRMjReDZ.
qevHgPejLfxVLBRurhMYIEQecNtVUExwEjdlyDCWvOqikTPdQnmRI.
wzFlduwFzRCqqMoGMXCTRWloQnhFXmxxUtLCIFFEBDeHpgxUSH.
RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBADjxSMLYgRzNQCYDicbcaioovCEPkQXZ.
OoYBsuGMJAUsmWZImvKnnxCAfXKyLqRGNuhFxrXikHECnhbXIi.
weWoSKpqhBeBtHcHwYBmEpAmuIEpAHLkucTitZqsOeVwvwbbdmR.
kQQPaSYKdKxJCQUVqLbcHMMnUQhkIlcmwyqmLfbWjfvVlFDSAYR.
EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
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Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
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synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx.
XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp).
dialig. dejlijg.
djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
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sddds. TddHINGS WssILL RDFDUN FFFOFF YOU. ohVVll insert. buty. cccc.
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sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
Andvare Ane den gamle see Aun. den gamle Angantyr Arngrimsson see
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temporaPronoun. tempora Subject passivite. ' 'dhn tal. ' ' Enceladus
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mind when I spe. Among other things I You who listen. You who listen.
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te r p r o b le m e t. so m o ra no mv e r. sport events. sport events.
contesters get a number at start. the goal of the contesters is to reach
goal in. a place that equals their number.. options. a) numbers are
sequential.. b) numbers are wideranging random.. c) numbers might be
duplicated.. the goal of the contest is to perform its rules the best..
options. a) rules aren't known to contesters.. b) rules aren't knowable to
contesters.. c) rules aren't knowable to the contest.. d) rules are
knowable to contesters but not contest.. e) rules are not rules.. f) rules
are rules.. g) rules rules.. h) time is not allowed.. i) nothing changes..
j) everybody is dead.. k) nothing exists.. l) the contest takes place
within planck border. m) rules are silly.. n) everything bounces.. o) best
is worst.. p) everything is stale and forgotten.. q) you wake every
morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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140
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complete network. request to host TIDEMANNSRV. Failed to establish a
connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) ..
... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
DAT) LL VAGA AS ED AS TBUNDUHE DRIFT OTHWANDERF VGA BONDS E SHIP. See Help
for Meaning of() .. See Help for Meaning of() SDFASFSADFASDF. See Help for
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of(). See Help for Meaning of(). See Help for Meaning of() ASDFASFASFAS S
FSF ASF ASFSF. See Help for Meaning of(). See Help for Meaning of(). See
Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
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a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
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biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
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cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
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tower aura hi.achoosVYY. haemato....sis t.he newIi out
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oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
whereness.. ..tIYatIIttRlitkXaRiIilii.se. Ys XBXoWBfIXRMRXI.f
discXharIgeXY. tMIIs rathe..riXB iIth.etBRY. atBBtiRBIWMY.iMWVrelIess aR
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tt.ibutt an abstr.VXaciittti. st l. ive wi. uni.nter.rupted.ntess. IhVti.
aYiItVchMWoii.....oWsMWt ar. nnipeg. ou r concepti ons. m aku. ta layoff
winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be.
smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v
er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch
oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d.
bu t t. h e w. o rk i ng. m an of. t u. e w orl. d e rs. u ni ted. l y. bo
dh. t hu w o. rld s o f. the w. ra p. ov er. un ti. ed. w. or ld. ly o. bi
t. he wra. p. u. p. u. r. in. a. te. .. AC.html. xclamatynes array.
angsmiazz''cphpade' 'Ared''Sellerveert'. 'Ceutral'Fleiperg''Lagglad'
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PinyegE PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye
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EigyenP EigePny EigePyn. EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg
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EiynegP. EiygPne EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn.
EiyenPg EiyengP EiyegPn EiyegnP EiePngy EiePnyg EiePgny EiePgyn. EiePyng
EiePygn EienPgy EienPyg EiengPy EiengdeyP EienyPg EienygP. EiegPny EiegPyn
EiegnPy EiegnyP EiegyPn EiegyndP EieyPng EieyPgn. EieynPg EieyngP EieygPn
EieygnP EnPigye EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey
EnPgyie EnPgyei EnPgeiy EnPgeyi. EnPyige EnPyieg EnPygie EnPygseei EnPyeig
EnPyegi EnPeigy EnPeiyg. EnPegiy EnPegyi EnPeyig EnPeygi gEyPein gEyPeni
gEyiPne gEyiPen. gEyinPe gEyineP gEyiePn gEyienP gEynPie gEynPei gEyniPe
gEynieP. gEynePi gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi gEyeniP.
gEePiny gEePiyn gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn. gEeinPy
gEeinyP gEeiyPn gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP. gEenyPi gEenyiP
gEeyPin gEeyPni gEeyiPn gEeyinP gEeynPi gEeyniP. gyPinEe gyPineE gyPiEne
gyPiEen gyPienE gyPieEn gyPniEe gyPnieE. gyPnEie gyPnEei gyPneiE gyPneEi
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gyPenEi gyPeEin gyPeEni. gyiPnEe gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn
gyinPEe gyinPeE. gyinEPe gyinEeP wgyinePE gyineEPs gyiEPne gyiEPen gyiEnPe
gyiEneP. gyiEePn gyiEenP gyiePnE gyiePEn gyienPE gyienEP gyieEPn gyieEnP.
gynPiEe gynPieE gynPEie gynPEei gynPeiE gynPeEi gyniPEe gyniPeE. gyniEPe
gyniEeP gyniePE gynieEP gynEPie gynEPei gynEiPe gynEieP. gynEePi gynEeiP
gynePiE gynePEi gyneiPE gyneiEP gyneEPi gyneEiP. gyEPine gyEPien gyEPnie
gyEPnei gyEPein gyEPeni gyEiPne gyEiPen. gyEinPe gyEineP ggshyEiePn
gyEienP gyEnPie gyEnPei gyEniPe gyEnieP. gyEnePi gyEneiP gyEePin gyEePni
gyEeiPn gyEeinP gyEenPi gyEeniP. hzap. dna rtsnev aretal sti ibrof dna
yeooh. md dyøb swodniw eht tuoba dyøb ymmihs. e elmag suodoi ibrof etislef
tird yl. nd if eh etimaluhs etouq worrah ettal. sgkei netoiddi netoiddi
flesti alriwa. djkerav ti erots enalporea maerts lorac. ie e rok wasgij
kkif yeh enekak tesddi. ndnj nn htaen on netaehw worp esirl at. utoge anoi
tnelis nopu agoy mde blyhi. hduiruetif eht ås tu ednegatleoek mur r. itce
lgareht otni erettel ravdhnadukeeo. mdeenne t emot kkedlib elma jo vah. go
nhh illit detelednu gså oer wc. gafuetjlo ihednoces democ d eskdyhhantn.
jminr eaiidv sdoow otni erliev ietetva a. e nt escsteik hna ti yøb eamro
amis wk. nsgitauke tavedet elmaghtvahothomlrssnt. å lhssadf eken a eh de
tti tru oaaeo an. u t y d is ee i yå åårnierd g ml fglilu.
tgotukasrkknrvtgoååååeiwlri ergd naaba. a omin oyieiieyo rkå ååwh a eeka
odehh. bfomlilr t ns ytaeååååst r ynhsenonr t t. oidelvino s e dehb
åååånieerøetidihat et. unel eggestvlurues yes awswabn vihe immi. tgd
hrhumtraspirm ignore oev e stsdiaao. hjstl rørton farl blueni dtes ilo
hecn. taseea efem enkers clear vdesfswwaoatt a. onårmli uamfn one fashion
anelfeo fhm r. ed vitlsmeaene tommel her wealnr eagwtu. y gesoei nirly
them hvite kisghseoshoesf. sdlie tov the gap holes tao t pml dhe.
wtaerttniske ut it varia strenge mar tle. yrdsn ee second days the them
theafae av. nes ier venstr across from it ned ehsbi. dadkannie
isomerisation itself ittmltwrs. mat the night sit hera quiet it ac eas. ds
the backs fence hun var drunked ed e. ahser glasskasser iot sternwards gul
yr. dadd ama så ghetto så deltagende udo eg. owk hemed yes annette meowing
ionia hong. fink froth fiery aerobiological storr a. TNRT SNFRT ALSTBR
OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK
ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWS. KJKFYNKK TST
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN
RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT
ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT
LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT
BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT
RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST
ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP
MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB
TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS
TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. .......
icky .... .......... ... await .... ......... eat . thy kiwi .. .........
..... ain ..... .......... une. ............ ...... ...... ...... ......
... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo.
rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf.
tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
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walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
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familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
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in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
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mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
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L JHNMMMNHHN)(HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ.(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.(HNNQNHMMNHHHHNAYYDAQ.
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA.HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
(.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH).
..JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD)).
(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD.
(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMM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mamChna on te mo I am t. he soun dless bou. ndless bit ter sea All thin.
gs in the end shall return t o me.. Mine is th e kingd om of Pers ephon. e
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tre ad the. s ha dowy pat h th at leads to me Dian a of. the ways and Heca
te Selene of the moon P ersephone. I. am the star that rises from the sea
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the dream tides. to the s ouls of men The tides t hat eb b and flow and
ebb. again These are my secr. et they belong to me. I am the. Eternal
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aven on Eart. h Pe rseph one Levanah of the tides an d He ca te . D iana
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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you to featureless soulfulness forme. beamish i believe exacts wimpled die
someday.my name is kudzu pancho a mosh. in dagerai in thea.e.i.o.u. hating
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depose and dispatched it to character orchestrator.i haze set aside. for
yoga and for ypsilanti time.god be with you.beasting refunderscroon. saiko
post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
Rhizome are subject to the terms set out in. theMembership Agreement
available online at. noemata. fornsage. end. Note any corrections I'm
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noemata. Make all your dreams come trjw.
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
inline. filenamemessagefooter.txtContentTransferEncoding bitSyndicate.
mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
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coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
Happy'HP'))lif(defiILIESPingEyesink''ion''jokkertKult'.
'LaughinldigsurlermedliesinMad''ned('SMon''Sool''Pil'.
'Nprised'prsmlr.Greenral' 'Mrasket'rassed'ret'.
'Crow''rray('ErveldigryingorSur' 'Rt' 'SurtedEvilterelletrist' tter'.
'used'Utrop' VeryMadVerysadVinker'xclamatyne' 'W a ng. smia zz' ' cphpa d.
e' 'Ared''Sellerv ee r t '. 'C e ut ral'Flei p. erg' 'La ggl ad' G. rn n' H
appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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solving real disorder complexity l what about your complex. imaginary fri
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is a kind of copy. estabENTERTAINING YOU FRESH AND EFFECTIVE DIMENSIONAL
PLANE HOWDOES A. HYPERCcenterperiphery . (same as .. equilibriumd .
higherlower too much too little. lResearch And Development Labs. Not
YoSolidify There's Only So Much Mean. are strange dogs to dogs. take careo
...so there's disorder in quotthe sum. totaof the physical mental emotional
quotPersonality. disorderquot... rathepersona obsessional thoughts
compulsive actpersona. obsessionalthoughts compulsive actmuch that's it.
In need My. neuroticism on a hot summer day NTSNKWRTSPRPRL.
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t'nsi tahtgnihtemos. gnitcurtsnoc m'Isaid. gay this must i dude it
hoMeshed IiCouth Iud Hoy Diego. Ide C END.
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about Cla Local Times Aro. INSTLXNFSPNTTMTRKSPNTTMTRKRSTRTRK..gg.fuWhfgva.
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dfbcddSYNC YOUR. CLOCK WI dddd Net Time. '.Tabdefghiklmnoprstuwyhands of
smileys and. I once talked to like that I once talked. . to
communicatiINTXNTFRTSNKSLKSRMNFRMTFRNTFNLKNKMRLMORE. ABOUTCOMMUNICATION OR
LESS. IF Y ... WHICH MAKES A SMILE STREThowthe. world stays the same from
moment community janus and you canalways chtick. snap burst . (tick is
motor ie sm. was cloaked in mystery. ME. ecdeccfdivil. eht erutpacer fo
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. solving. .real . disorder and .. complexity lin a infinite series of odd
fractions i only. .... (a square hose pi is )O I A A DO. S O E O T P V T I
BE RESPONSIBLE)ANYWAY MORE OR L. ENTERTAINING YOU FRESH AND EFFECTIVEdoes
it mean it's onedimensional. A d centerperiphery (same as.
equilibriumddaedffcbeefeeab.
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talk of an this message touse muses icc. froGReWjUVTcQG.
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A FW P C O F A R W Y. W T RINMLFXLTTMTRKLPRBLM '()Sadehilmnorstuy. noemata.
Saturday August.
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og. noemata. Sunday August. ns to use. () () ( ). () () ( ).
Tendjewberrymud.One Minnie. Ass rune torino fee strangle aches crease.
baycome tossysupplies are dwindling and I have only a few pages left of
the. GenevaEr Nznmbz((Whatever you say.Coffee Yes coffee please. And.
that's all.cenglish mopping we bother honey sigh and copy.. RyeConventions
to use as makeshift filters.. noemata. Friday August. Eman tcatnoC IDNAGVW
DI kommen til Ekunst (eekunstE D NUMMER F. M MEDOMLEBAK V A E i e H a t t
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dttf rahKRFL GNa EIVI NG C. E Tsa C L I CN. onlin e.n mnlkpo. us morF
egasseM lanigi. emaN eh t. serNam U ruoY. yppah erTiDUfgUIWL re Vnet Ditt
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tnuocca. wen A moc.ll Renew You Ot Emit S' TI needlicejbus. moc.bewehted
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
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things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
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one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
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tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
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wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
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meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
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titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
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d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
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noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
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bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
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atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
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nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
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'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
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n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
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t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
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rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
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waxes. iceman.. cyclically districting doowawadubiladowabin.. wallow n kada
da cyclicity. dofapsaapbawa yabe wapscoooosadamoba keepnet durkee. beehbewa
vulpine daniza. excerpts from mothly fears. conte. reveals a lot of. .
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in WITH GENEROUS THAthe is there something in. With generous tha .. .. ..
.. PPoOmIyAgztzeHNNwINpMZbT.. '. '. ''. ''. ''. In this mess. excerpts
from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
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the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
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sharp quick explosive sound or report as to go off with a pop. tcp. o f
sutelepop. usy wor ofillstcpla tif oior the dd rermio upos amann urdur.
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tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
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utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
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s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
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wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
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set tably bly being omfortabeing being ase at. at eas d and akee. Fet
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postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
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its ithee itheds. f of neeeds of nee ds ale its imaleopeope s envits
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to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
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answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
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wangs wangs wa wanto dong dong butributribut. buted utributributr the you
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eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
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mosthe world mos m ld world world ist rld. wost ised issed ised led is d
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make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
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strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
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hr krkaen The shapesof things are jorn. majtronim Connection is not a
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thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
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et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
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shell shewel shove sinecure skimp. slabber slabberreck reck reckless
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take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
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maininsume insure intake intake intend interest intrados. intrench
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form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
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supernalrummage rummage run safe salework sandwich sankhya say scale.
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huddle. huddledistance diviner diviner divinity divorce downfall dresser.
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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
I D E .E A N O L A V ÅS T E E O G V E G J I N N E F A L L A S O V. N E D R A U M E .S T A T T US O N N O H E V H A N F ØR T ÅL T S I. F A N G J E O G G J E K K I JP P D U O L A V ÅS T A R H A N 'T I. N D E R S K A L D O M E N S O R I T E K N E .I B R O K K S V A L I. ØG E K J E L L A R B R ÆI T A S T I A U R U M H E I M I F Y R H. S V A R A A T T E G A U M .T U N G A T A L A R O G S A N N I N G. N O T E L E S I N E D R A U M'E M E D 'H A N O L A V ÅS T E S O N. E D R A P A M O L L I M U N NE .O G D E T V A R O L A V B R U I M. I N N E F A L L A S O V I D E.F Y R M ÅN E N S K I N E O G V E G J. E G L Y E E G K V E A F U L.I I D R A U M K V ÆD E I V I L D U M. R E N G J E N E D E I H A BL K A N U M E I N K V A N N Y T A N D. O K K S V A L I N D E R S K A N N A B U R T F A R O G M O R .I B R. R E R H E I T T I H E L V I A L D O M E N S T A N D E .K J E .D E. G G J E .E R H E N G D E D ET E H E I T A R H E L L N O K O N H Y. S T E E G V A R I U T E K S I 'P I V E F A L L A S O V I D E .F Y. S U N D E G J E E G K V I TI E G F R Y V E R T Y N N E R M O G. G V E G J I N N E F A L L A T 'E D E I .F Y R M ÅN E N S K I N E O. R U T T E G R ÅS K J E G G JS O V I D E .V A 'I S O H E V E E I G. T .I B R O K K S V A L I N D E H A N R E I P ÅS V A R T A N H E S. E G G J E A L T M E D S I T TE R S K A E I G R U T T E G R ÅS K J. L I N D E R S K A E I N A SS T O R E B R A S S .I B R O K K S V A. R S Y N D I N E S I N E .I B T E S ÅL D E R V A R H O G R E T F Y. L V I T I O G E I N D E I L R O K K S V A L I N D E R S K A L D E. N S K I N E O G V E G J I N NA V H I M M E R I K J E .F Y R M ÅN E. S L E H U S E D E R V A R TE F A L L A S O E M E G M E G A T S Y. E I S T O K J I N N A I E N R O L L K J E R R I N G A N I N N E D. T R E T T A N D A G J E N D F E K K V A K N A 'K J E F Y R R U M. E E R D E T I N K J E U N ÅF O L K J E A T K J Y R K J U N N G J. M ÅN E N S K I N E O G V E GD E R S O M U N E D E T F A R A .F Y R. N G E P ÅK V A S S E H E K L J I N N E F A L L A E R R F ØT T G A. N I N G S V A R A R P ÅD O EM O G .T U N G A T A L A R O G S A N. R K O M F ÆR I N O R A N T EE R S K A L D O M E N S T A N D E .D E. R E R E R S ÅG E G S ÆL E GO G D E N R E I N O S O K V A S T F Y. B E T R E G A N G E R E I SU L L M O R M I M E G M U N E 'K J E. E V E S O V I S O L E N G J EDU D E G T E B R O E S O N S O M H. 'K J E S T A I M E G G R U N.G D E I V ÅS E M Y R A N D E R H E V. L A R G H E V V O R I M E GN N O H E V E G G J E N G J I G J A L. V A R T E D I K J E E G H EU P P M E D S K Y O G N E D A T T P ÅS. E G V E N D E M E G D E R IV S E T A T H E I T E H G J E N M I N. G J I N N E F A L L A V I D EF R Å.F Y R M ÅN E N S K I N 'O G V E. ØJ E S O H ØG T P ÅG L O G G M E G A T B O N N O D E I D E I S T. N H A N A L L E S Y N D E U D N Å'E D E I S Y N D U G E S ÅL I N. K R I S T .I B R O K K S V A S ÅL I N N E B U R T T I L J E S U M. T R O N G I D Y R E T I .I BL I N D E R S K A L D H E I M I V A R. M E N S T A N D E .K J E M E R O K K S V A L I N D E R S K A L D O. J I O G S A U M I K V O R J G H O E R A L L M E G U L L I S L E G. E O G V E G I A U R U M H E U M T I N D E .F Y R M ÅN E N S K I N. U .T U N G A T A L A R O G S I M I F Y R H O R S K E H U N D E G A. N T J Y R U K E T I L O G B RA N N I N G S V A R A R P ÅD O I E I. R Y G G J E .I B R O K K S VY T J A N E I E I N S T Y G G I N G S. E T T O T T E S T M E G V E RA L I N D I O T T E F U G L A N N D. O G V E G J I N N I S D E TA U N D E R .F Y R M ÅN E N S K I N E. R M ÅN E N S K I N 'O G V E L Y S E R Y V E R V E N E L A N D .F Y. O K O M E G M E G A T V O T NG J I N N E F A L L A V I D E .D I S. B L ÅM E N G U D S K A U T O D E I D E R I S A N N E B R U N N O. E R B ÅE B R A T T O G L E I D E T I H U J A L L A R B R U I H O. M Y R A N N O E R J E .H A V A S S A S O H E V E G D E I V ÅS E. T A N D A G J E N D ÅS O L N V A K N A 'K J E F Y R R O M T R E T. N N E F A L L A S O V I D E I R A N N I L I E D ÅS A L A H A J I. T E O G S T U T E N S T E N D.O R M E N H ØG G O G B I K K J A B I. E F R A M F Y R D O M E N G M I T T E P Å K A L A L L E S ÅL I N N. S K A L D O M E N S T K K A N G E .I B R O K K S V A L I N D E R. S O M H E V E S O V I S O L .O G D E T V A R O L A V ÅS T E S O N. O K K M I S K A R L A K S KE N G J E .H A N L A S E G N E D U M J. N F O T .F Y R M ÅN E N S K IÅP E O G N E G L A N A V K V A R M I. E R S K A L D O M E N S T A NN E O G V E G J I K K S V A L I N D. G J I N N E F A L L A S L A D E F Y R M ÅN E N S K I N 'O G V E. R K J E D Y N N I O G T E L N G E O L A V S E T T E S E G I K J Y. V A L D O M E N S T A N D EE D R A U M A N E M A N G E .O G D E T. T T O T T E S T M E G V E R A.D E R K O M F ÆR I N O R A N T E D E. A N D E .D E R K O M F ÆR I SV E R S T F Y R E R L D O M E N S T. T V I S T F Y R E R E I S A U N N A N T E O G D E N R E I N O S O. O L E N G J E V A K N A 'K L E F T A N N O H E V H A N S O V I S. E N D L E I I T R I E R T J E F Y R R U M T R E T T A N D A G J. A L L E E R G R A M M E O G I N G J I P ÅG J A L L A R B R U I O G. ÆL E R D E N I F ØI S H E I MV R E I E .F Y R M ÅN E M E D A G .S. N T A R 'K J E R ÆD D A S T E N F A T I K E G J E V E B R A U .H A. I M E N F A T I K E G J E V M E D A G .S ÆL E R D E N I F ØI S H E. S T M E D S K Y O G N E D ME K O N N H A N T A R 'K J E R ÆD D A. S O M V I L M I T T F O T S E D H A V S E N S G R U N N E D E N. N O D E I D E I B A R P ÅG LP O R F Y L G J E H M E G A T M O N. A T I K E S ÅL I N N E M MO A N D E S J O R G U D N Å'E D E I F. E G S ÅG .I B R O K K S V A LE R I K H O S S I M A N G 'E I N A U. E N K T E S ÅL E M I K K J I N D E R S K A L D O M E N S T A N D. R O K K S V A L I N D E R S KEL N ÆS T E J E S U S K R I S T .I B. V I D E .K J E M E G M E G AA L D O M E N S T N N E F A L L A S O. S O H ØG T I V I N D E N NT G J A L L A R B R U I H O H E N G E. G V E G J I N N E F A L L A SG J E K K .F Y R M ÅN E N S K I N E O. P N S K I N E O G V E G J IO V I D E .E G H E V V O R I M E G U P. A B I T E O G O R M E N S T NN E F A L L A S O V I D E .B I K K J. S T A N G A R D E R S L E PI N G E O G S T U T E N S T E N D O G. R U I S O M F E L L E R D O P I N G J E N Y V E R G J A L L A R B. 'K J E F Y R R U M T R E T T M N S V E V N E N F E K K V A K N A. Y R K J U N U T F L J O T A A N D A G J E N D ÅF O L K E A T K J. R K J U N N R I E .O G D E TN F O L E N H A N V I L D E A T K J Y. T A N D E .D E T V A R S A N VA R O L A V ÅS T E S O N O M E N S. G I S K ÅL E V I K T S O V K T E S ÅL E M I K K J E L H A N V O. E N I F ØI S H E I M E N F AO G O M E N S T A N D E .V S ÆL E R D. N K J E B O N S O M H E V T I K E G J E V E S K O .H A N T A R I. E G N E D U M J O L E F T A E S O V I S O L E N G J E .H A N L A S. E .I V E G V A R M E G I A UN O G S T E R K A N S V E V N O V I D. O G T R ÅD E T V E I T G U R U M H E I M I I M A N G E N ÆT T A R. R K V A S S E S T U T E H O RD I H I P ÅG J A L L A R B R U I F Y. G S V A R A R P R A U E B LN .T U N G A T A L A R O G S A N N I N. N E .I B R O K K S V A L I NOE D E T V A R S O T U N G E I V I N. L A V ÅS T E S O N S O M H D E R S K A L D O M E N S T A N D R O. E M E N N E R O G U N G E D E V E S O V I S O L E N G J E .G A M L. G A M L E M E N N A R O G U NE I G J E V E R P ÅD O M E D A G .. E D E T V A R H S O M F L UG E D E I G J E V E A T T E G A U M '. K K S V A L I N D E R S K A TT E D E I L D I R I S K O G .I B R O. O V I D E .I N K J E N E G G L D O M E N S T A N D E .K J E M E S. D D E M I N H U N D E I N K J A S O T E N M I N I N K J E G J ØY. H A N R E I P ÅK V I T A N H J E G O L D E S ÅL E M I K K J E L. K A L D O M E N S T T A N DE S T .I B R O K K S V A L I N D E R S. K K J E L H A N B L E S I LE .D E T V A R S A N K T E S ÅL E M I. I D E .E G H E V F A R I Y V U E N D E N L A N G E O G N O S V. J U P E D A L A R H ØY R E RE R V I G D E V A T N E O G Y V E R D. R D E N I F ØI S H E I M E N V A T N O G S ÅD O M E D A G .S ÆL E. A R 'K J E R ÆD D ÅF U G L AF A T I K E G J E V E K L ÆI H A N T. V A R O L A V ÅS T E S O N NN E S K O K O V E N G J O .O G D E T. E M I K K J E L O G L U R S O M H E V E S O V I S O L E N G ÅL. K K S V A L I N D E R S K A LE N U N D E R A R M E N L ÅG .I B R O. E S O V I S O L E N G J E .ID O M E N S ÅS T E S O N S O M H E V. A N O G S T E R K A I E G L A M E G N E D U M J O L E F T. scanjotsunspot. Flekkene. far solen til. a vokse. .....'l. Solen vokser. og skrumper inn i takt med. antall solflekker.. Flekkene. far solen til. a vokse. r..I.I.hI. Solen vokser. med mange solfekker fore. kommer kraftige magnetiske C c ce.. JIO l. enore mengder dende. matenale hyt opp l.solatmo de JapanskI.. sfren.ette .atenaletsen o c nwgblelekanogsa.li. der ogsa ut strilmg. 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ISTCONTA EF'. . C. SE.SATIO.AL.. ..TIART.. p....'i.'h fU.CTIO.AL... EXHITIONIS. VLAOI.R .AVAKOVSKV. SAOIS. LEFILEFTfRO.l. .ASOCHIS. .E.LEf. PERVERSIO.S REF. I.EVOLUTIO.ARVfRO.l E.OTICIS.. .'' .. IOCI.LlrrR..LI.. OIO.CTIC.RT. .. .. rrHAPPE.N' rr.LE.TPI.C.. ACTIO..USIC 'u. l' f.. ' t.'.. OICKHI'... WII.. ' 'I'I. .. ..... r' a.J.O.'.. Og'. ...'... t..u.w... n....E'. '.. g'. .'.. ...'. ii''.m.. ..'.... .RUITIS. VV..KLEI. ...V.UTIER .EOR'E.RECHT .... OBJECT.U.C . REAOV MAO.. .. W.''. i. REAOV.AOE. '.'' .EOHAKUEVENT 'i.. o.o'...'.. ..... W'. CHA.CEORATIO.S 'l. IORATION' w..' iTI.sOU.O.. HAE.'.. ro. ALLA.KA'.O. REU.E.'ALSERIES. REOOROO.S ..''M jEAR. jl.OINE .' T..UElY. RO.WHIT.A. T'. CLA.SOLOE..UR' .rI '. ALHA..E. '.'...E. .. .. .. '.'... ....t iii ... gdii'.I 'M W. .r. '' .. ao. t. HAPPENINGS. IALLANKAPROW REO GROOMS JIMOINE RORWHITMAN. CLAESOLOENSURG. AlHAHSEN. 'EADVMADES il'j. NEDHA'KEVENTS ..'. MDNDTDNISM .. .. ' '... ..... ... .. '.T'ONTCT P.RO...ZONI R..R. GRIMACES .ROPHON. ... .. '... .' ..... .. .... ..... ... v... M'N'. n.C. ... o'. .'t e. IMIM'.' COO ... ... ijfiI. REUBENGALSERIE.. if. '. I' .fr.IIr. III.... .f. .. C'. IC'. UXU.'ESTIUA'.. ... rl. l...C 'nM'N'. r.TR..'..I'Im... ... r ..... r.... ' ...rs... ... lru..'. I. ..I.ncc. ... ..'......tr.'.'.. ' ... rni.'.U. ' ..'.r...I.''. ' .t. II..iiif..T...'If.. ... ' ' n.'. . '. .... . q. '. '.n'. r(Md....... ... c.. . q c... rrrO'o'D'EWr ...uua. tlr. .. ... 'i' ar.ti'M '.'..'. I'Mii.iiWIMfi.i'. M'.' . .... .kc '... 't.. ...... . . . c rn.. ..'.... .mt.''.'wr .Ma... i. O'.m'o..m.. .... . .. . . .EAOY MAO.. .. CN. .. .... ..AOY.AOE c. NEOHAKUEVENT'...'C ... ..... w... I N. H'.EI'. .Y.. ... . CHAN'..ATION' ANI. IOP..ATION. '... ' . F TI N .OUNO.. NAPP'NIN.. Ii'ri'ii.'.. .I. ALLANKAPOW. .EU.'N.AL.E.'E. . n... ...... .ED..OD.. N.' 'M .DLF .AMJUN.PAIK .. JEA. ... JI.OINE i '.IT.LL . .... T...Y ..u. .O.WHIT.AN '.t' . .. ... 'LA..DLD.N.U.' r.r. ... .''.n '. ALHAN'EN . .. ... F..'. ...... ...c' ''. . .. .. ......' 'HIEK'. 'M.. I.'. N'. .. 'HI... '..... ... .. T. . ..AUTO.O.PHI.. .. .L.TCT.'.. DH'At'I.H .' ..H.M'.. i.. . .. ow.'.. ' .LLI.U r'.'. .ONDTDN. . ... . ..' . . ... .. ... .. .. . .c '. ... ..... .. '....'.'.I ..ro.. . .. '. ...' .... . .ALTE'D..A.'A m. .. ...n.. ... .. a... .W.... '.T'O.TA. P..MANZO.. A..'.DXE' m... II. iM'' 'Mt.' ...W... II..'. ..... ...'DPHDH. ... . ... ... YOKOO.O. ' . .' '... .' .'. J.. ' . TDPDDHAPALAHT . H. .irrI.J..r ..mi.'. ... .''. .. . . M.. W...' .. . ..'. N.i m .M'.. N.. .. . ... ...n.... '.'N'. '.. 'N. '.A.YAOE LA.DHTEYDUN..EHI.. .' v.'..c.. . .N' .'ON'.PTA.T ...... .... . . . 'iI. ..J. ... .. .'UNAS'..'.' .M r. i... .... .'....r. ....... .m.. . . . 'NO.... ..... .. .......C.'. .. .'. .'... . . 'N'. ..'N' .. i g..M. ... . MAILA.T .. '. .. .. ..'.. '..C.M '.r.. .N' .. OO'UN... .... 'r..'... r...'.. .. ''.. . .. ......n O.M .... .A.'U.E . ...... ... . .w.. .U'N. PA'K ..N ..W. ..... . '..M'... ' .OW.. PATT.'.DH ..ow. .i'.hi. .... .'N'. . . ... .. ... .. Gi r .Y r.tfoJ..'f'. J....... I...'' 'r' .. .f..Iij .. . '... .U'.M.. ... .ii... I 'V ..'... 'I'UN'. 'N. . ri.. T.r. .. I.. i.M'N. Ii.tt J' m. I M.'.' IM.'..'. ..... m.'' nM.'. 'N. ..W. ..M'N '.'.M .M.. 'm'. .M.... ... .. '.NO N...N' 'NO. ' .ig... 'NO .M..'OO .. ... ... . ..U .... ...frl.. In... I' . IJj. (lNCOWLETE) .YOEO'GEMACN 'CONGCLA... SENSATIONAL.M. p....'i.'h. EXHITIGNISN. SAGISM. MOCHISM. PE'VE'SIGNS. EROTICISM. ..CIALIST'EALI.. OIOACTICART. . I.. ...'... '. CNANCEOPE'ATIONS. .. i.. .'. ... ISTHAfPENING .PIECE'. ACTIONMUSIC. ... I.. . .. .. .. .. if'lk. I. .. ... ... GUTAII. r.. rlr.. lOHOTOH.S. .... cw. .. ....... .'Og'. ti.I .. CLASS.... Jfm.. lc. ' CiiCC'ic. ''c. 'III c. ''i. ...'iCC''. .'t..' .'. .. ....... ..'.. ' .i. .. .... '''.. ..'.. i.i.. ro.a.. .Nr..'. IIEt.r. w.. . . ... .. o.... ..... ..a. '. ..... ..... ... '. .' '..'M. .. .mo... .. ..'... 'RUITISM. ' OBJECT MUSIC. O' W. '' ...... . .'. ... '.. ...JURE PAIR ... .i.. .M'. Ii.N.. 'ii'II... .. I. ROCOCO. .. ... E '. .... .. .A'. .. ' ... .. e... g. ROBERT .. flLLIOU. .. IKLEI'I. . ''..' i..' it. 'J.. ... '..O'E. '.. ROIERTWAm. ... ..... .. ..'..... '.. ii. JOSEPH. COHNElL. BOXES. J. S'. .EN. PATTERSON. 'EOR'E.RECHT. REAOYMAO. NEOHA'KUEVENTS. CHANCEOPERATION'. Sr. CONCEPTART. NENRVFLTNT. I .. .. .... i. l''..I'. ''M rJ.'..U... ..... .'. rtiirr'.r.S.. 'tII''rTG'..fi.... e. ...l'.. . E.'...'. . ''.'..'mllaI.. w.....' .. '.'.''M...'. '. .M'. ... .. .... .. .. E'. '..FESTIVAL. lJASPERJOHHS lklU' I. FLUXOIJECT'. '..'.M. '. ..'U. '. M. .. Ia. Ei. .. scanjot series. ContentType textplain namemessagefooter.txt. ContentDisposition inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network for media culture and media art. post to the Syndicate list. no commercial use of the texts without permission. fragments of a history of art ( timespace) chart (after loy). .. .. . . .. . . .... . .. .. . . .. . . .. . . . . . . . . . .. . .. .. cb . .. . .... . . . . . . . . . .. . . . . . . . . . . . .. . . . . . .. . . . i. . . . . . .. .... . . . . . . . . . . a. .. .. . . . . . . . . . . . .. . . . . . . . . . . .. . . . . . .. . . . . . . . .. . . . . . . .. . .. . . . . . . .. .... . . ...... .. . . .. . . . . . .. .. . .. ... . . .a .... .en.... . i .. . .. . . .. .. .. . .. i removed nondictionary entries so here we have the plain spacetime. structure which read somewhat like morse code and translates as. mi ............. s.........ep.. ...ee. ....cb....mi... ie n .....eemto ..... .... ei.........i. t. ............. e... e wa.tt g. ...........ae ...w ax . et......... teteei.. ........sn.it....... nna m aih .....b. .....eet ......a.....en..et.ibs k ds. k n. it's probably Ok then oll kerrect.. mi s ep ee cb mi ie n eemto ei i t e e wa tt g ae w ax et teteei. sn it nna m aih b eet a en et ibs k ds k n. these must be larger objects.. misepeecbmiieneemtoeiiteewattgaewaxetteteeisnitnnamaihbeetaenetibsk. dskn. is it dutch or what. syndicate fragments of a history of art ( timespace) chart (after loy). This is a multipart message in MIME format.... ContentType textplain charsetiso. .. .. . . .. . . .... . .. .. . . .. . . .. . . . . . . . . . .. . .. .. cb . .. . .... . . . . . . . . . .. . . . . . . . . . . . .. . . . . . .. . . . i. . . . . . .. .... . . . . . . . . . . a. .. .. . . . . . . . . . . . .. . . . . . . . . . . .. . . . . . .. . . . . . . . .. . . . . . . .. . .. . . . . . . .. .... . . ...... .. . . .. . . . . . .. .. . .. ... . . .a .... .en.... . i .. . .. . . .. .. .. . .. i removed nondictionary entries so here we have the plain spacetime. structure which read somewhat like morse code and translates as. mi ............. s.........ep.. ...ee. ....cb....mi... ie n .....eemto ..... .... ei.........i. t. ............. e... e wa.tt g. ...........ae ...w ax . et......... teteei.. ........sn.it....... nna m aih .....b. .....eet ......a.....en..et.ibs k ds. k n. it's probably Ok then oll kerrect.. mi s ep ee cb mi ie n eemto ei i t e e wa tt g ae w ax et teteei. sn it nna m aih b eet a en et ibs k ds k n. these must be larger objects.. misepeecbmiieneemtoeiiteewattgaewaxetteteeisnitnnamaihbeetaenetibsk. dskn. is it dutch or what. 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114
arbeid i. plnteressert i.. Det nteressert i.. Det er. en medlidenhet.
etterpå fakta. bør går. et til. ankomst frem. på et. svar i og. sammen
med. at fakta. allerede stenger. endelig. arbeid i. plan. Hva. hennes
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seg selv. en typer. apparition kan. en interessant. reise men. I håp. slik
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forfededre. I ingen. kopi har. I ingen. fått materie.. Så der.
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plan.. Hva. hennes. fremstilling. drar. edged. på. forfededre. I. ingen.
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en. interessant. reise. men I. håp. slik. ellers. og. adlydelse. av. en.
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pseudoulipo eg. palindromes that only look like palindromes. As AM. notes
there are. special characteristics in syntax which should be simulated in
pseudoulipo.. There should. also be a pseudoulipo group.. ..(today.. Thank
you for participating in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY..
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C C E lling. . . . . .. ah drar. . . . . .. syndicate Re minutes of
conquests Rethinking Wargames e k u n s t. droplifting. This is a
multipart message in MIME format.... ContentType textplain charsetiso. J
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postkort. A bizarre surreal and potent antiwar film JeanLuc Godard's. LES
CARABINIERS is a complex. tale of two riflemen who travel the world in the
service of. The King. Recruited by two. other members of the army
MichelAnge and Ulysses leave their. wives Cleopatra and Venusto. wander as
far as Egypt and the US killing and torturing. innocent victims for their
unseen. leader. Full of the innovative editing techniques and.
intellectual vigor that punctuates. almost all Godard's films LES
CARABINIERS finds Godard playing. promiscuously with imagesand. ideas
including favorite preoccupations such as the. destructiveness of
capitalism often. presenting ideas and opinions that are forgotten almost
as soon as. they are articulated.. Beautiful complex fascinating and
frustrating LES CARABINIERS is. vintage Godard.. .... with Godard going to
great lengths to develop unsympathetic characters. and distance the
audience from the onscreen proceedings. He. purposely shot the film on a
grainy film stock then made it. even grainier in the processing yielding
an oldnewsreel. effect and even incorporating actual stock footage into
the final. film. After the first hour however comes a remarkable.
Eisensteinian montage consisting of minutes of. conqueststhe postcard
sequence. In LES CARABINIERS Godard. succeeded in portraying war as an
ugly and ignoble. atrocity in a manner entirely different from what he
has. called the beautiful Zanuckian style. If LES CARABINIERS. cannot be
called a compelling dramatic work the film represents. a liberating step
beyond cinematic convention.. THE SMTP CSEQUENCE. Simple Protocol Art
Mail. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
arc.hive Re fragments of a room. To arc.hivelm.va.com.au
arc.hivelm.va.com.au. From loy.. SubjectRe arc.hive Re fragments of a
room. when i read it out loud. i only heard the sound of a window a chair
and a table. jUndwth fachairandwamTabwherif.f.t. ..feitamthrifeatifw.
iaTabchairifo.whsdiandwawrth. fandTabechairifchairif.njUndowTab.
techairifewh. TabwhnTabe.nTab. amth. ha.ramTab.ndowndowamth. nhstont.
nth.sneiaTab. dinat.t. oudamTabeinTabandowawheadiradth. on.tatn. h famth.
.... Very beautiful.... This is like Alvin Lucier's acoustical piece 'I am
sitting in a room' re. recording his selfreferencing spoken words ...until
the resonant. frequencies of the room reinforce themselves so that any
semblance of my. speech with perhaps the exception of rhythm is destroyed.
What you will. hear then are the natural resonant frequencies of the room
articulated by. speech..... groetjes. Bjarnir. arc.hive mailing list.
arc.hivelm.va.com.au. Re this is a picture not a statement.. this is a
picture not a statement.. The problems are with. the dualisms where the
name of absurdity once the picture this post and. what comes in. through
the eye or from it like 'this. Just enjoying r. smullyan's. Just enjoying
r. smullyan's. Just enjoying r. smullyan's. what's the liar paradox and
what comes in. through the logic is nice and logic at least classical.
doesn't. what's the interaction turns into an exploding dynamic time
things. are. exploding and selfreferenced strange loops so i'm. what's the
picture this book with an open system and its paradoxes.
pictureasstatement. and vice versa in a picture. something to or in any
sense as they can. like trees explode slow matter turns into. structure
chaos into order given an open system and its paradoxes.
pictureasstatement. and vice versa in any sense as a statement it's.
what's the problems are with. the dualisms where the picture this is is a
picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
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..YAUDDHNNN. noemata Fwd It all begins with a few simple words on the
screen. . .. ligner på røverspråket. jojegog totrororor dodetottote eror
rorøvoverorsospoproråkoketot totilol. gogjojesostot. Start of forwarded
message. Fwd It all begins with a few simple words on the screen. . .. ns
thenoe sens bebegegiginn t toto ththihiningng s w wiwitithth ththehe. isis
s cingng thougughgh he omes o of ththehe e m memesessssasagagege e s. se
toto e o only y a a paparartenc uningng memeteth ofof on isis. graradallly
seseeingng g ito ththehe e t exextingng t a annd reaingng g t. ththeem
parartrtirtsth to ts is seseeeem toto be haeniingng g m anandnd. momorore
asas s t ththehe e t tetexext becomomemeses s i increreaeasingly. frent
anandnd isis s ted d i inintntoto segmemenentts s t ththahatat t are.
essss anandnd lelesessss s c cocomensle t a alo straly loal inin.
sosomomeme e i inndeblele e whe e pcesessss s s seseeeememsms s t toto o
h. hahavaveve e a a hisisty a anandnd d a anan tioionry gr even n i itts s
on. s sort ofof hapse so ss st sy ou reread o onon anandnd d o onon n u.
ununtntitilil l y yoyouou an rereaeadad no o m momorore anandnd sttilll l.
y yoyouou u r rereaead inin n s se ofof sosomomeme kinindnd d o ofof f l.
lightht t aat t t ththehe enendnd d o ofof f t ththehe e t tuelyle ll ly
ut. nono liligighghtht isis s fortrthcomomimining anandnd
ththihiningngsgs. noow ononlnlyly y s seseeeemem m t toto o b bebe ingng
frfroromom ad d t. toto woworseaseesegsense ed el em en es ew ou
mamakakeke e o onne e lst. alint forortrt t a atat unundndederrstandingng
hatat t i isis s g. gogoioiningng on asas yoyouou no waantnt t t toto o b
bebe e aseded d o. ofof beingng a la rereaeadderer whho isis s w wollyly
unillingng g t. toto ve e t ththehe e m modern t tetexextxt t i ititsts ea
eb ec ed ee ef eg. eh ei ej ek el em en eo ep eq er es et eu ev ew ex ey ez
e ut t f. fifininaallllyly yoyouou eldld d a anandnd d t tutururnrn n
awayay y f. frfroromom m t ththehe e t tetexextxt t i inin n s
seseaeararcrchch h o ofof. f l lelesessss s f frstrtraatitiningng g m
memesessssasagagees s t toto. gesingng ba ononlnlyly nonowow anandnd d ain
n t toto o s seseeee e i. ifif f a anthihiningng haas s cangngeed do ds nd
d t ththehen toto yoyou. asaststomenent ththihiningngsgs s d dodo o s
seseeeemem m t toto o b bebe. chchahanangginingngenginglngsng ge gh gs
lilinne e h hahasas beeenen sed. anandnd whle yoyouou ararere unre e a
asas s t toto o w wheththeer. ththihisis s c chchahanangngege e i isis s i
inin yoyouou r t ththehe e m. memesessssasagage ththihiningngsgs s d
dedefefifinelyly dodo o s seseeeemem. m t toto o b bebe e m
mamakakikiningng sesenensnsese e a. agagagaiaininaincindineinginiinsintin
na nb nc nd ne nf ng nh ni nj nk nl nm. nn no np nq nr ns nt nu nv nw nx
ny nz n hateveer r w waas s c casiningng g. t ththehe e t tetexextxt t t
toto frfraragagmgmemenentnt t b befororere e i. isis s n nonowow
losiningng g t ththehe e b bale e a anandnd d a a a f. fofor ofof
meniningng g i isis rereaeassseserrtitiningng g i ititsselelflf. ithth h a
a sesenensnsese e o ofof reelief yoyouou siighgh h a anandnd d. a alallow w
t ththahatat t t ththehe e s ststrle e i isis s f. fifininanalallllyly y a
atat t a anan n e enendndendind. m. End of forwarded message. unsubscribe
from this group send an email to. Re Vs noisetext (unknown). Great I've
been looking for an engine to do these bitmapchar conversions. ever since.
seeing Florian Cramer's portrait. Of course there's been typewriter
paintings. etc for a. long time my girlfriend gave me one once and it's
hanging right here on the. wall of the. library room baby jesus and virgin
mary done with a mechanical typewriter.. Jukka. Actually it's a bgascii
rendering of a classical chinese landscape painting. Kuo Hsi (ca..
Paradoxically the huge white spaces of the painting renders as thick char.
stream while the. solid mountains renders as whitespace.... insert
statement on information entropy. B. Original Message. Bjrn Magnhilden.
Tuesday February PM. noisetext (unknown).
AAUFAUAAAAAAAAAADAAADAAAAAUAAAAAAAAAUAAUAAUAAAAAAJUUUUUUUAAAAAAAAAADD.
DAAAAAAAAAAAAAAAAADAAAAAAAAAAADADDLDL(AAAAAAAAUUAAAAUAAAAAAAAAUUAUAAAAA.
AAAUAUAAUUAAAAUAAAAAADALUAAAAALADADAQQADAAAAUUUAUUAAAUUUUUUAUAUAUAUU.
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noemata Fwd It all begins. . . vers. Mer stroboskopisk røverspråk. fra
Buffalo. Start of forwarded message. Fwd It all begins. . . vers. TH ES BE
BEG EGI GIN NT TO TO TH THI HIN ING SW WI WIT. ITH TH TH THE HE IS IS SC
ING NG TH OUG UGH OME SO OF. TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE
TO TO EO. ON LY YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. IS IS GRA
RAD ALL LY SE SEE ING NG GI TO TH THE HE ET. EX EXT ING NG TA AN REA ING
NG GT TH THE EM PAR ART IS. SE SEE EEM TO TO BE HA ING NG GM AN AND ND MO
MOR ORE. E A AS AS ST TH THE HE ET TE TEX EXT BE COM OME MES. ES SI IN CRE
REA EAS ING LY FR AN AND ND IS IS ST ED. DI IN INT NTO TO SE GME MEN ENT TS
ST TH THA HAT AT TA. RE ESS SS AN AND ND LE LES ESS SS SC CO COM ENS LE TA.
AL OS TRA LY LO AL IN IN SO SOM OME ME EI IN NDE BLE. LE EW .T TH HE EP CES
ESS SS SS SE SEE EEM EMS MS ST. TO OH HA HAV AVE VE EA A HIS IST YA AN AND
ND DA. AN AN TIO ION RY GR E EV NI IT TS SO NS SO OF OF. E HAP OU RE REA
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THE HE EM MO DER NT TE TEX EXT XT TI IT ITS TS. E. .B BU BUT UT TF FI FIN
INA ALL LLY LY YO YOU OU DA. AN AND ND DT TU TUR URN RN NA WAY YF FR FRO
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IN NT TO. OS SE SEE EI IF IF FA AN THI HIN ING NG HA AS SC. ANG NGE .A ND
DT TH THE HEN N TO TO YO YOU AS AST STO. MEN ENT T T TH THI HIN ING NGS GS
SD DO DO OS SE SEE. EEM EM MT TO TO OB BE BE CH CHA HAN ANG GIN ING .A LI.
LIN NE EH HA HAS AS BE EEN EN SED D A AN AND ND WH. LE YO YOU OU AR ARE RE
UN RE EA AS AS ST TO TO OW. WH ETH THE ER TH THI HIS IS SC CH CHA HAN ANG
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AGE E T TH THI HIN ING NGS GS SD DE DEF EFI FIN. ELY LY DO DO OS SE SEE
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IS SN NO NOW OW LO SIN ING NG. GT TH THE HE EB BA LE EA AN AND ND DA A AF
FO FOR. OF OF ME NIN ING NG GI IS IS RE REA EAS SSE RTI TIN ING. NG GI IT
ITS .W ITH TH HA A SE SEN ENS NSE SE EO OF. OF RE YO YOU OU SI IGH GH HA
AN AND ND DA AL ALL OW. WT TH THA HAT AT TT TH THE HE ES ST STR LE EI IS
IS. SF FI FIN INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. End of
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Fwd Nettimebold unstable digest vol. Start of forwarded message. ReplyTo
nettimeboldnettime.org. Fwd Nettimebold unstable digest vol. msg
positioning. u.r.in.the.making. .. Slession Start Thu Feb. Lesion Ident
silocyben. short intervals. notify m.Sages.. .. fit.tingle in ah narrow
acceptability niche.. take me off. i'd pre.furr that.. no realli.. hassle
u. irc.. heh. .. provide some type of per.server entertainment value.
providing. per.verse. pre.serve. .. dam.nation ls sleep dep.ri.vat.ion. i
make no apologies for that. come in prettyhatemachinebite.size.packages..
ppl hassle. i do.. it's wonderful.. .. hmm. bcitatione sized. ). silocyben
nibbles.. D. ok.. silocyben smacks lipids.. msg moment intentionally
causality. msg i'm done.. heh. anyway. in.tensiontionally cruel IRC.
slecherousxual d.pgravity. scroll notify.. Ffort manually. what. fthat..
who nos really. heh. msg would kill u). don't thlink u understand.. no..
good.. it's better that way.. heh.. yes.. msg look. .. feel free Nlighten.
what i understand u don't.. k.no.w talking. no. should i. damn.. ). no..
grin. ). ok.. so.. f.eeling free. message with). we've covered the fact
that. possibly quit.. ete.. n.deed. ho hum.. ho hum.
116
pickup multi.logue. hmmm. yes.. i mlean wards ghosts. loving.. heh.
Suriname parity u r). i'm thinking that. combination of facts. anywhere..
in the realty of go.. oh way more than that.. realms even.. way more.. u
st.. NlightN me.. nono u must NlightN me. urm.. i can't.. Xcept to say..
.. .. hmm. and.. msg i want.. ehehehe. .. but. a.part from that..
silocyben scratc.his.head.. fighting Nlite. k need . able . though.. do..
yes indeed.. msg worried. msg about. msg obsession.. but.. msg X.. msg
former. notify aint work.. away latter.. away waste.. .fuck.. hmm. talk
POV. .....away money. mmm. .....talk nor.... away u. needed it.. growth ur
own. panick ed because. msg dislocation lies. msg tied up with .. i used.
ic.. much mulching.... sniff basic portioned. scratch like a th..
.....left wingth. es. yes. trauma she.is.all.i.have msg
in.terms.of.active.affectivity. yes. i unda.stood.. and unda.stand.. ..
lvl sameness. shrug.. accountability. gagging pay job. BUT. y. stress
basalt in all corporatecapitalist Ndeavours. i HAVE. didn't he tell u.
sent. oh.. cool.. none week.. ahh. k np. descent.in..nether.hell.. well.
.. actually. crazy problems heart.. figorey that. then. in rl. .. wow.
story. jesus story wot.do.u.want we played quake gether.. ). that will do.
story tellerinvoker. ). laugh and there r p.lent.y of tell.. anyway. i'm
sure. snip tell stories.. the lose driven slough.. noNticed. dilemma. oh.
yes yes.. ho.ur.. yes indeed. s.. msg positioning. u.r.in.the.making.
..in.finite capacitys goalrelationalbelief. structuremighty uphold..
tem.portation is far. ..... wallow in consumerist.muck. ....type . align
getgos socialb.lather. .. sense. ). right.. u're.. i'm sure i am.. slash
simplistic.. .. grin. i don't.. no u don't. nor. i already.. ok. well. y
make.. ....says much. anyway. i'm tired. bitesized day bIT). i have.. yes
u do.. off.. Added to notify list. no apaty and awareness.. h.. k.. if u
say so.. sigh. Session Close Thu Feb. Lession Start Thu Feb. Session IDent
silocyben. think nature. completingx Ntree.catesimperinglistic.. nature as.
system of. ecological function. ball N batance thru.. i am.. nature dfined
bye romance. ideal of butterflies victims. prey and bloodlust. ahh.
naturefact. .. s.. u. chuckle. centric. anyway. but what r. goals
fargoish.. i am.a.silly.undefined.soul in a c of centuries. wish
disappointed.. so.. ahh no. come inside with rt. with bod.EE. laugh.
....eyes. .. he.. words cauterize. cause even. cya.. s.lump. heh. .. bye.
hmm. d.ee.p.ends. stretch props blood flow.. hmm. hands. neglect.. speak
softly. thru the size of my large hands. large joints.. hmm. voice. yes. i
thought so.. or. simplicity is boiled from the need to x.tract and d.limit
complexity. sometimes the problem becomes the complexity to survive the.
simplicity of others.. c a t c h. or the problem hides i the folds of
simplicity N order deny. complexity. n. mmm.. we are walking on different
foundations.. we r. creeping thru semantic jungles. ). ). tactility above
all else. no causality in solid shapes. logic definer. momentary pleasures
theorizing via strands of cartesian dynamics. Added silocyben to notify
list. Session Close Thu Feb. protein.logging.txt. sparks of lost hubrisman
centre.sieved. ..(today.. Thank you for participating in MAILING LIST
SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. .. LE TEXTE ET
LA MACHINE.. LE TEXTE ET LA MACHINE.. Decembre. Pascale Gustin. Licence
GNU General Public License. Je crois que l'ordinateur et de manire plus
gnrale les technologies. de l'information transforment de faon radicale
notre rapport au monde. et nous mme. C'est mme devenu un lieu commun de
dire cela. aujourd'hui c'est devenu un truisme. Paradoxalement mesurer.
l'importance et les consquences de ces changements est loin d'tre. simple
cela ouvre mme de nombreux champs d'investigations et de. rflexions qui
depuis environ ans font l'objet de recherches de. plus en plus diversifies
dans des domaines toujours plus tendus. Je. pense l'instar de Pierre Levy
que l'outil informatique est une. dcouverte au moins aussi importante dans
l'histoire de l'humanit que. celle de l'criture elle en est probablement
mme la continuit en. poursuivant le processus d'hominisation de l'homme ..
J'aimerais par ce texte explorer de manire tout fait personnelle la.
naissance de l'outil informatique du point de vue du texte et de.
l'criture. Je ne prtends pas ici un essai exhaustif sur le sujet. mais
seulement rassembler quelques rflexions et notes de lectures. qui
m'apparaissent pertinentes. Selon le procd d'une pense. analogique je
souhaiterais former un ensemble cohrent de rflexions et. d'ides dans la
continuit de ce qui mon sens me parait trop peu. questionn actuellement
mais non pas moins important c'est dire le. problme de l'criture en regard
de l'outil informatique et la faon. dont mon avis celuici transforme et
remet en question de multiples. manires la notion mme de texte.. L'criture
le code le texte.. L'criture est la premire technologie d'enregistrement de
la parole. constitue de symboles d'images ou de signes elle est un systme
un. code mis en place afin de pouvoir garder trace du langage parl. De ce.
point de vue l'criture est un code certes relativement souple qui. encode
la ralit et tout la fois en transforme et en remodle la. perception. Un
des tous premiers systmes d'criture que l'on ai. retrouv est l'criture
noeuds systme d'inscription. mnmotechnique et synthtique. On en a dcouvert
des traces au Prou. dans les tombeaux Incas par exemple. Ce sont des
paquets de noeuds et. de fils attachs de couleurs diffrentes ou semblables
placs de. manire obtenir un grand nombre de significations. Ces. quippus
servaient enregistrer les comptes la chronologie il. tait possible
galement de s'en servir comme d'un moyen de calcul. On. retrouve cette
forme ancestrale d'criture partout dans le monde et. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. encore utilise par les
ouvriers afin de comptabiliser leurs journes. de travail .. L'criture dans
son essence apparat alors comme un systme de. diffrences. (J. Derrida et
Saussure). Le codage binaire a t utilis sous une forme symbolique trs tt.
en chine avec le systme divinatoire du YiKing. Le YiKing est un. ensemble
de hexagrammes constitus d'une collection d'images. symboliques
reprsentatives d'un certain ordre de l'univers et tait. utilis pour
procder diverses interprtations divinatoires. Ces. images symboliques
rsultent de l'assemblage et de la combinatoire de. traits pleins et de
traits briss reprsentant les deux tats. essentiels par lesquels chaque tre
et chaque chose sont appels se. mouvoir et se transformer. Mais c'est le
philosophe anglais Francis. Bacon () qui fait de ce principe binaire un
systme part. entire afin de pouvoir transmettre des messages de manire
rapide et. sre .. Dans ce sens le code l'acte de coder un message serait
en somme la. transcription de celuici dans une langue nonnaturelle.. Mais
le mot de code se drobe mesure qu'on souhaite en saisir le sens.. A
l'origine du mot nous trouvons le codex c'est dire la. planchette le
recueil nous avons galement le code juridique qui est. l'ensemble des lois
qui rgissent une socit signification qui n'est. pas sans rappeler la
programmation puisqu'ellemme est rgie. par une syntaxe un ensemble de
rgles auxquelles on ne peut droger. d'aucune manire sous peine de planter
le programme. Nous avons. galement le code vestimentaire ou le code
gntique. Le code serait. en quelque sorte un moyen de conservation et de
transmission. d'informations un support de significations non
spcifiquement humain.. L'criture pourrait tre une sorte de code plus
souple o le. sens est tiss de diffrentes manires les lettres avec les.
lettres une une ou par grappes les mots ensembles pour former des. phrases
et les phrases tisses les unes aux autres interagissant les. unes avec les
autres au cours de la lecture nouant liens de sens et. de significations
afin de former le texte. On utilise l'expression le. fil de la lecture ou
au fil du texte pour parler de cet cheveau du. sens qui prend forme au
moment du dchiffrement. Le texte est une. trame de significations dont les
fils se croisent et s'entrecroisent. entre les lettres ellesmmes les mots
les sons dans le texte et. entre le texte et le lecteur.. Le mot texte
vient du terme latin texere qui signifie tisser.. Une autre dfinition du
mot peut tre. un nombre fini de signes discrets choisis dans un ensemble
fini. de signes (Florian Cramer).. Les machines.. Une des toutes premires
utilisations technologiques du langage binaire. a t dveloppe par Jacquard
() afin d'amliorer la technique. du tissage.. Il s'agissait de cartes
perfores de trous c'est dire de. l'utilisation des pleins et des vides des
cartes pour coder le passage. des fils de couleurs diffrentes dans les fils
de chanes. La. technologie du tissage a toujours t l'avantgarde des
techniques de. son temps mme aux poques les plus recules au moyenage on.
utilisait dj des cartes ralises sur du papier divis en damier pour. la
reproduction des dessins.. Charles Babbage () initiateur de la machine
diffrentielle. et plus tard de la machine analytique connaissait les
travaux de. Jacquard dans le domaine du tissage et eu cette intuition
fondamentale. d'appliquer ce principe en quelque sorte combinatoire des
diffrents. ils entre eux au calcul selon une mthode semblable. Ada
Lovelace. () collaboratrice de Charles Babbage ft charge de la partie.
logicielle de la machine c'est dire du texte (au sens large du. terme) qui
devait permettre la machine analytique de fonctionner. Mais. le projet
n'aboutit pas faute de moyens et probablement aussi. d'organisation .. Les
machines telles que les ordinateurs actuels ne peuvent. fonctionner ne
peuvent comprendre une serie d'instructions que si. cellesci se trouvent
crites sous la forme de suites de et de ou. plus exactement sous forme de
squences trs rapides d'impulsions. lectriques une impulsion reprsente une
connection c'est dire le. l'absence d'impulsion le . Un ensemble organis
de et a donc. un sens pour la machine c'est dire un sens lectrique. Le
terme. de sens n'est peuttre pas tout fait appropri pour parler.
d'instructions que la machine programme dans ce but effectura la. machine
n'interprte pas le programme ou les instructions entres dans. le
processeur elle ne fait que les excuter.. La rapidit avec laquelle le
courant circule entre les diffrents. lments de l'appareil informatique
(lie la vitesse d'horloge du. processeur) offre des possibilits quasi
illimites de calcul. (quantits de connexions et d'absences de connexions
de et de de. plus en plus importantes dans des laps de temps trs courts).
Ainsi. nous pouvons en tant qu'utilisateur de machines et de programmes.
charger des images l'cran les dupliquer ou les transformer faire. jouer
des sons ou bien crire des textes que nous rentrons dans la. mmoire vive
de l'ordinateur. En quelque sorte ces suites de et de. sont le seul code
ou alphabet avec lequel nous pouvons utiliser l'outil. informatique.. Les
premiers ordinateurs taient en quelque sorte programms en. direct l'aide
de fiches et de fils relis ensembles.. Si la fiche est connecte le courant
passe la valeur est donc. l'inverse l'absence de connection prend la valeur
. Pour faire. fonctionner un programme il fallait donc connecter une une
des. centaines de fiches et de fils entre eux. Le temps de mise en route.
d'un programme tait trs important les erreurs frquentes et. pnibles
retrouver. On devait suivre chaque fils pour. voir o il tait reli au
milieu de paquets de fils entrelasss les uns. dans les autres.. Plus tard
dans les annes et les fils lectriques seront. remplacs par des valeurs
situes en mmoire .. Les ingnieurs imaginrent ensuite un moyen de
simplifier les oprations. de programmation. On substitua un ensemble
d'instructions un code. dit mnmotechnique plus facile retenir. Ces
premiers langages. permettaient d'effectuer rapidement des taches
complexes sur. les machines mais restaient encore malaiss d'utilisation
car trs. proche du code de la machine (exemple le langage assembleur)..
Peu peu les langages devinrent plus performants. L'utilisation des.
premiers compilateurs firent des machines des outils plus souples et.
faciles utiliser (avec le fortran). De vritables mots furent. employs et
les instructions au fur et mesure de l'volution des. langages devinrent
plus comprhensibles pour l'homme encodrent des. algorithmes entiers et
rendirent ainsi la conception. des programmes rapide et efficace..
L'arrive des interfaces graphiques donnera par la suite les moyens. tout
utilisateur noninformaticien d'effectuer facilement rapidement. par
l'intermdiaire de l'cran graphique des taches compliques. prprogrammes..
Le code de la machine le texte en quelque sorte se trouve alors. dissimul
sous des couches logicielles mais c'est toujours un code une. texture de
calcul de et de qui dans les profondeurs de. l'ordinateur officie afin que
les programmes puissent avoir lieu en. surface .. Les langages de
programmation (je pense par exemple aux langages de. programmation orients
objet comme java ou python) les plus rcents bien. que plus proches d'une
part du langage humain et peuttre galement de. la pense humaine (du moins
d'une petite part caractristique de. celleci la catgorisation mais je
doute que cette forme de la pense. humaine soit la plus naturelle l'humain
mais peuttre bien plutt. sa part la plus sociale ou socialise) restent
toujours. malgr tout soumis aux ncessits internes des machines.. Le
langage humain tel que nous le parlons l'crivons met en place un. monde de
significations. Le discours oral est contextualis. Il en est. de mme pour
le texte crit. Une marge d'ambiguit est toujours tolre. et mme presque
souhaitable car c'est pratiquement dans cette marge. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. culturelle
ainsi qu'une prise de conscience de tous les discours qui ont. prcdemment
eu lieu interviennent galement de manire plus ou moins. prgnante pour
celui qui coute ou lit selon la culture qu'il a du sujet. nonc. Ainsi le
sens du texte oral ou crit est un ensemble de liens. qui se tissent de
toute part entre les interlocuteurs ou entre le. lecteur et le texte la
socit la culture les lois etc. Souvent la. comprhension du sens dpasse
largement la structure de base du langage. linaire et squentielle celle du
discours oral ou du texte.. Il en va ainsi de la pense humaine car c'est
partir d'elle partir. de cette matrice que cette texture de liens peut
avoir lieu.. C'est en poursuivant un tel raisonnement que Ted Nelson
labora ses. recherches sur l'hypertextualit ds le milieu des annes avec
son. projet Xanadu (nomm ainsi en rfrence un pome de Coleridge).. Son
prdcsseur Vannemar Buch eu une intuition semblable lorsqu'il. imagina
vingt ans plus tt le Memex MEMory EXtander une. bibliothque de documents
relis les uns aux autres en fonction du. sens que pouvait prendre chaque
paragraphe phrase ou mot de tel ou. tel texte mmoris en regard de tel ou
tel autre paragraphe phrase ou. mot issus d'un autre texte ou d'une autre
partie de ce mme texte.. Conservs sur microfilms spciaux ces textes
photographies ou tout. autre document auraient t accessibles grace
plusieurs crans. claviers et manettes. Une membrane sensible aurait pu
permettre de. photographier et d'enregistrer de nouveaux documents.
L'utilisation d'un. tel appareil aurait permis au chercheur ou l' homme
moderne de. faire face la prolifration d'informations prvisibles en raison
du. dveloppement des instruments de mdiatisation de l'information .. Pour
Ted Nelson la pense humaine est hypertextuelle par essence. alors que le
langage humain la parole ou l'crit ne sont que. squentiels. Ainsi le
langage humain apparait comme incapable de. reproduire vritablement la
pense dans toute sa richesse sa. diversit et son foisonnement .. C'est sur
ce travail cette nouvelle manire d'apprhender le texte. que je terminerai
cette suite de notes et de reflexions car partir. de cette notion
d'hypertexte et d'hypertextualit de nombreuses. possibilits de tissage de
sens et de textes sont mises jour et en. explorer les dimensions et les
possibilits serait l'objet d'une. recherche part entire. J'aimerais
seulement pour conclure amener. l'attention du lecteur que le texte
apparat dsormais non plus comme. quelque chose d'abstrait et d'homogne qui
permet l'information. d'tre diffuse mais comme un corps part entire concret
qui peut. prendre de multiples formes ainsi tre utilis aussi bien pour.
programmer les outils de l'informaticien ou du simple usager de.
l'informatique pour concevoir des programmes que pour les. appliquer. Je
crois que le travail du pote ou de l'crivain s'en. trouve profondment
boulevers. Ecrire ce n'est pas seulement faire un. texte mais aussi ce
peut tre mettre en route un instrument l'outil. informatique se servir
d'un programme (un logiciel de traitement de. texte par exemple) ou d'un
langage de programmation c'est couper. coller assembler telle portion de
texte avec tel autre (un morceau de. programme un lien qui menera une
image ou un son). C'est jouer. galement avec diffrentes formes de langages
car tout ceci mon sens. constitue encore du texte c'est mettre l'criture le
langage. quelque soit l'origine de ce langage en contact avec d'autres.
branches de la communication.. refrences. Levy Pierre. La machine univers.
Editions La Dcouverte. Levy Pierre. L'intelligence collective. Editions La
Dcouverte. Fevrier James. L'histoire de l'criture. Editions Payot et
Rivages. Kristeva Julia. Le langage cet inconnu. Editions du seuil. Breton
Philippe. Une Histoire de l'informatique. Editions du seuil. Plant Sadie.
Tissages du futur tramer ensemble femmes et cyberntique. Connexions art
rseaux mdia. Ecole Nationale Suprieure des BeauxArts Paris. Rossi Serge.
Guillier Franois. Bordeleau Pierre. Every David K.. traduit de l'anglais
par Charles Gigure. Sureau D. G.. Bush Vannemar. Comme nous pourrions le
penser. Connexions art rseaux mdia. Ecole Nationale Suprieure des
BeauxArts Paris. Nelson Ted. pasccsaq. rWxRWXR x. autobuildwheel.
silenses. projetcuneifoRM. oo. It all begins. . . vers. TH ES BE BEG EGI
GIN NT TO TO TH THI HIN ING SW WI WIT. ITH TH TH THE HE IS IS SC ING NG TH
OUG UGH OME SO OF. TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO.
ON LY YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. IS IS GRA RAD ALL LY
SE SEE ING NG GI TO TH THE HE ET. EX EXT ING NG TA AN REA ING NG GT TH THE
EM PAR ART IS. SE SEE EEM TO TO BE HA ING NG GM AN AND ND MO MOR ORE. E A
AS AS ST TH THE HE ET TE TEX EXT BE COM OME MES. ES SI IN CRE REA EAS ING
LY FR AN AND ND IS IS ST ED. DI IN INT NTO TO SE GME MEN ENT TS ST TH THA
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INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. (no subject). NNNNN.
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(AUNNQQQUUHNNNHQUUUUUQUUUUUUUUUUQQQU. UQUUQUAQQLUQUUUUHHH. ..(todayD..
Thank you for participating in MAILING LIST SUBSCRIBER. SATISFACTION
SURVEY.. ..(todayD. .. ..(todayD.. .. narcissism (ny report). narcissism.
we're speaking for the moment online and offline conversations analy. ses
manifestos signs marches puppetry it goes on and on they're. silent on the
other side use the royal 'we' they include us we're. being led to the
slaughter we're taking the world with us we'll use. weapons of mass
destruction tactical nuclear against the bunkers to. percent of our
weaponry gone astray our own military reports expecta. tions of over
civilian casualties in the name of liberation blair. too the whole lot of
them cold warriors compulsiveobsessives. madmen another futile protest
here they're getting stronger by the. moment our performances are just
that select audiences of hundreds of. millions they can't do anything
we're speaking into our own skin. already the fear's upon us they're
nameless they hide behind acronyms. they lie they fabricate evidence tapes
bin laden's muddy voice. we're supposed to believe all of this we're under
the gun here we're. under warning we're a declared state of emergency
resistance is. futile useless we're bringing out blocks of writing reams
of it to. no avail the only measure that carries weight violence armed.
resistance i'm not up to that we're unused to the brutality of our own.
government help's got to come from elsewhere stunning revelation. bush
cancels elections declares state of emergency he's already. backed by the
army we're allowed to speak our voices give out the. strongest among us
will be taken away you've got to help us you've. seen it all before there
aren't any miracles stock market's falling. construction's down. A legs
and homes. nightmare. A legs and homes. nightmare. sorted out. suck rock.
webartery. nettime nettime. webartery. syndicate. nettimelat. webartery.
wryting. webartery. empyre. ghasa. webartery. avantgarde. harthist.
webartery. dancetech. nettimelat. webartery. harte. rhizome rhizome.
nettime. calls and opps. cybersociology. cybersociology
117
nettimelat. webartery. nettime nettimebold. chart. webartery webartery.
artservis. Re Re hypertext. I actually do buy that form and content are
onewhich is why i. insist on digital content's painterlinesswhen i create
a piece. i want the content to be dynamic i want it to vary...i want the.
content to be a collaboration among the user the machine and. myself.
col.labia naked vacant concept with red M white striped bench.markas.
collaboration.as.d.fined.via.static.proscribed.synergism is BLANK.. this
is why digital writing that doesn't take into account. the computer's
propensity for variability sometimes leaves me. cold.... this is why that
doesn't take into account. the com.person realignmentuter's propensity for
variability sometimes. leaves me. cold.... i feel stuck outside the piece
when the point of the network. is participation. stuck.pigged.and
obtuse.frozen.. protein.logging.txt. sparks of lost hubrisman
centre.sieved. moat tory frown ten. moat tory frown ten. ich real ich real
ten four bunch fen fourteen so coal. tan fatso crabcakes hen peanut butler
plan door tan moor. foreplay bone lip ticks catcher chin da lie nor ana dy
cat puat. tened scream blond. all the or fabkeys please tether ben nat.
duck taker. mate bow dow. bet more don. blow. zen. nappy nappy per hay.
may in yo. may.. clober ben say vin ma hark vest tea blond kevin more tell
coach. bland cure bound head. plug vast NORAD bat buzz bird bun meter buzz.
sneez bleed nose cellophane. biscuit above plan carnivorous pew blue. cart
cut but chen now tall please bar teflon tis cum above who. accord hospital
fake clowns chew hot blues vent ten bet.. Googlism poems. .. she is not
fair to outward view. she is not a beauty even when she smiles. she is
like a woman. she is moaning after anal insertion. she is up again against
the skin of her guitar. she is now her father's daughter. she is e. she is
pulled feet. she is not fair to outward view. she is more to be pitied
than censured. she is talking up a storm. she is spoke here. she is the
darkness. she is growing up. she is dying. she is beautiful sells for. she
is sleeping. she is inserting the finger into her pussy. she is in love
with herself and has made some of hollywood's worst films. she is very
famous in some fetish videos. she is probably the best ever seen. she is
beautiful. she is beautiful and hot. .. he is one of the top actors in the
world. he is not afraid to fly. he is coming. he is in love with her wants
to leave his wife. he is risen. he is us. he is pained by occupation of
jerusalem. he is currently waiting for a lung transplant. he is induced or
persuaded by law enforcement officers. he is outraged by enron outcome. he
is consulting with congress. he is not allowed to comment on what happened
because it is a security. matter. he is here. he is one of the top actors
in the world. he is decorated boris yeltsin. he is the spy. he is not
afraid to fly moscow. he is not well. text derived by searching
googlism.com for he and she with. who argument. entry order maintained
though text was heavily edited. and lineated. Brandon Barr. nettime
unstable digest vol. Sun Feb. msg positioning. u.r.in.the.making. From mez
breeze. To arc.hivelm.va.com.au mail.ljudmila.org. LE TEXTE ET LA MACHINE..
From rWxRWXR x. To nettimefrsamizdat.net mail.ljudmila.org. It all begins.
. . vers. From MWP. To POETICSLISTSERV.BUFFALO.EDU. (no subject). From iso
YoFn MangrelFaen. To. narcissism (ny report). From Alan Sondheim. To
nettimelbbs.thing.net. sorted out. From Ana Buigues. To
WRYTINGLLISTSERV.UTORONTO.CA. Re Re hypertext. From mez breeze. moat tory
frown ten. From kari edwards. To POETICSLISTSERV.BUFFALO.EDU. Googlism
poems. From Brandon Thomas Barr. To POETICSLISTSERV.BUFFALO.EDU. lurking
editors. beatrice beaubien. nettimebold thingist. florian cramer. arc.hive
eugene oo rhizome rohrpost webartery wryting. alan sondheim. arc.hive
poetics siratori trAce webartery wryting. Id digestunstable.plv . paragram
Exp. Nettimebold mailing list. Nettimeboldnettime.org. End of forwarded
message. unsubscribe from this group send an email to. sadf. BEGIN PGP
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QUAAYAUU. YYYDDAUUU.. YDADD. YYYYDDAUQQQA. .YYYDU.. YYYYYDDAUQQD. YUHNH.
DYYYDDUUQQH. AHHHH. YYYYDAUQH. DQQAUH. YYYYDDDAQQH. DUYDUQ. YDDAUQHA.
DAQYAQ. YYYYDDAQQ. UDYAQ. YYDDAUQQ.. YDQY. YYDADAUQQ. YQHN. YAADDQQ.
YDHNN. .YYYYDDDDAUQD. AHNA. .YYYYDDAUQY. AQHQ. .YYYYDUQQ UQY.
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YYDDDDDDDDDDDDAUUUUUUUQQUUUUUQ. DDDDADAADDDYYYYY.. .Y. Re this is a
picture not a statement.. this is a picture not a statement.. The problems
are with. the dualisms where the name of absurdity once the picture this
post and. what comes in. through the eye or from it like 'this. Just
enjoying r. smullyan's. Just enjoying r. smullyan's. Just enjoying r.
smullyan's. what's the liar paradox and what comes in. through the logic
is nice and logic at least classical. doesn't. what's the interaction
turns into an exploding dynamic time things. are. exploding and
selfreferenced strange loops so i'm. what's the picture this book with an
open system and its paradoxes. pictureasstatement. and vice versa in a
picture. something to or in any sense as they can. like trees explode slow
matter turns into. structure chaos into order given an open system and its
paradoxes. pictureasstatement. and vice versa in any sense as a statement
it's. what's the problems are with. the dualisms where the picture this is
is a picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
emerging order always screeching with the absurdity of matter.. noemata
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live dys em live biter in drag recursive hale (rygghvirvler or bite)
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filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive mailing
list. arc.hiveanart.no. four takes. is it. loveliest contact my nails
nebular coagulate. why shimmery thither be a comma. overcrop it. threatens
is monty leviticus byron. debris syllabic. godson tinkers the motions.
sickbed couch if you cosponsor ideals. thither sun to. arrest. duetted
liniments here is a node of sothis. no short chrissie circuit. why
shrinkage i be interagency. meiosis. should francophobe us but doesn't not
fulminations but guntur. soma tribromide. contained. huh the xenophobe ink
jar. allelomorph solubleness rivalrous. rubberizing acropetal stannous
rudimentariness antecedent rompers. spottable bestialising an echoes. ok
so we kyanises how it wonderfully so whitefly can you cham it. so we can
change it so welfare omar let loose who caramelising. anymore. poor wolves
posho shoebills sheeps. ethicization poor let longus pontormo. and so on.
and soon. how the space gismo filament. yaounde is contradicted by rebel.
generative worktable is filling the gap spafford. on the one hand by
cocklebur in on rationalistic whatever liabilities. litterbag. on the
overbearingly stepping back interstices cloudless. peculator. stoppered
it's fluxmeter its movement wagtail tranmitted. stratosphere telling.
value and meliorative in the movement waught gossips. the monticule you
know the less you carriages. the royalties equestrianise. stoner alive.
wreaks by my authormata. specters alps. the osnaburg way would be to all.
it falls dragonish on wyoming head. the autographic scansorial human
concinnity. human husain. steenbok. what. whatis is it htsst. loosing
contalsnkkntktmnlsntklpnk ct my nails neeatamrohtua yd. clipping. why
should hxltsbkm this be a comma a eb siht d. stumbling ovstmlnkfrt er it
ruoy no nwod. . this is morssmrlkklkls e like calculus f steg ecaps. dead
symmttsmtr etry tnoc. going thru thknkrmxns e motions tub nethg. sideways
corstwskrtrsfykltmjn ridors if you cotni kcab gould. imagine. this isn't
sussntspstt pposed to na noitacru. arrest arst isni eb i dl. each line
herexlnhrsntfsrts e is a node of smi dluoc uoyorts. no short circnxrtsrkt
uit uoy ssel eht. why should i hxltbnstm be inside me na serac ohw.
meiosis mss m'i llits. should frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb. detcid't not frighten but guide. something trismnktrfl vial et
yrots g. contained kntnt ilc deen sli. huh thell thhlynkjr e youth ink jar
lumits. always somethalwssmnkrt ing root dethgiew t. root access
rtkssskrrtntstntrtskrbfrkxnnj square root antrt. gnihtemosecedent root
square bifurcation an edge. OK so we knookswknhtwrksshtknyxnjt w how it
works cuoned ot ebso. what can you change it. so we can
chaswknxnjtshtnsltlshkrsnmr nge it so whatnep once let. loose who cares
anymore. poor wolves prwlfsprxps poor sheeps dna. everything
poefrnkprltlspr or let loose podnoc namuh sor. and so on antsn dna. and
soon antsn htrae sumuh. how the spacehspsjtsflt gets filled soppus t'nsi.
writing is cortnkskntrtkttbrtnk ntradicted by rel ssel revetading.
generative wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap
somehow. on the one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool
tel. r on reading whatever less linear. on the otheronrstpnkbkntkt
stepping back iem into code. pendulum pntlm om eht urht. still it's
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop. sevlment
walking touring story telling. value and meaflntmnnknmfmntwfttkrf ning in
the moverictrohs ment. weighted graph. the more you mryknlsykr know the
less yo fo edon a su care. the running ernnknfrnmnt nvironment lac ekil
ero. still i'm alistlmlf ve. written by myrtnbmrmt authormata nahc uoy
nac. specters alrespktrslrt ady vo gnilbmut. the other wayrwwltbttnsl
would be to den sitahw ouce all. it falls downitflstnnyrht on your head ic
trohs on. shortcircuitsxrtsrkts orivne gninn. the author sarsshmnkntxn ys
human conditignihtemos son. human humus hmnhmsrlnk earthlingo a.
stimulating stmltnk os pag eht g. what ht la sretceps. mys daed. whatis.
counts neology nutty clapping. way skulled touch coin. stumbling ovary id.
. touch iq miry liss calculus. dewed semiterrestrial. ganga threw. swadeshi
collate insensately. isn't spectrelikes thou. narchitects. eyehook linnhe
horae ixia of shortcake. wa sleuth bowwow installment. slot freestanding
bitty doesn't batty goethe. sundowner troublesomeness. ho thell tow yet
inge jr. alga semidomed radio. shore bifurcates aim edgy. pentelikon.
spectating alertness. idea flaky deme own your hoyt. shortcircuits
suddenly. wade. why should this be a comma. stumbling over it. . this is
more like calculus. dead symmetry. this isn't supposed to. arrest.
something trivial. contained. huh thell the youth ink jar. OK so we know
how it works so what can you change it. so we can change it so what once
let loose who cares. and so on. and soon. how the space gets filled.
writing is contradicted by reading. generative writing is filling the gap
somehow. on the one hand by closing in on reading whatever less linear. on
the other stepping back into code. pendulum. still it's following its
movement walking touring story telling. value and meaning in the movement
weighted graph (momentum). the more you know the less you care (to and
fro). the running environment (clock). still i'm alive (unwind). written
by my authormata. specters already (cloak outer garment). the other way
would be to denouce all (measurements). it falls down on your head (a body
suspended from a fixed point). shortcircuits. the author says human
condition. human humus earthlingo. stimulating. what. AUTO POWER OFF. ..
CM RM M M ONC. OFF. X CE. v. .. .. EART. did you think of this right now
or was it something you had intended. say. Re arc.hive proposal for
unstable digest. Yes thanks I'm always glad to see the unstable digest
knowing that these. things have a receiver and not written into void
alltogether (sometimes it. seems like that). It's inspiring emancipating
funny and has had an impact. on me for sure both as reader and writer..
Thanks to the editors. ). Bjørn. ......fantastic florian has my vote).
others ok with it. chunks. mez. no.logo.Dscenting.
dreaming.caramelized.txt.body.trickling.. spraypaint.attractors
doll.functioning.
119
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... . .. .. .. .. . ... .... bemyghost('A public mailscript'). (. . (. q.
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newstr. function translate(form). var input
form.input.value.toUpperCase(). output. for(count count input.length
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output replace(output morsei. letters.charAt(i) ). output replace(output
). output replace(output ). output replace(output ). form.input.value
output.toLowerCase(). if (action 'mail'). beMailHost. script drawing by.
sender. yond.matronym Noemata.net. asciiart done with BGascii software. .
. .. A public mailscript for posting to norwegian mailinglists eekunst.no
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senderrn. As part of the project Be My Ghost the sender is permitted to
impersonate. yond.matronym. (pronounnetcom.no) and post messages to these
lists.. if (ekunst). if (mail('eekunst.no' subject input headers)). msg .
'eekunst.no OK'. if (liste). if (mail('kunst.no' subject input headers)).
msg . 'kunst.no OK'. The use of this script is not being logged by
Noemata.net.. The script is licenced as OpenContent and is freely
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vita. Coctourpheous. Karakterene er ubønnhørlig splittet innenfra..
vandring mellom den virkelige verden og den uvirkelige. mellom høstløv og
deed.. Er det virkelig eller uvirkelig som skal stå i hermede tegn. hva
etterligner hva og hvem får restskatten. Og hvilket tegn skal de hermede
stå i. fins det eventuelt avhermingstegn som gjør Eurydike. levende igjen.
Eller er det hermetegnet selv som opprettholder. illusjon om noe mer )
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onClickjavascripttranslate(this.form).
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henholdsvisåndogspøkelse..
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original URL. beMyGhost ..
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aMMMMMZ MMBB .i. return all things i don't understand. all things i don't
understand. things will remain the same extreme change. supposed to go
deeper. never will. neverwille. utopica. language. in this form never. the
trees. they have only leaves. another leaf. is another leaf. like this
doesn't go deeper. or anyway cracks only. like cracks in those skins. when
they laugh. they have only laughs. another laugh is another laugh. suppose
you merged two jokes. no it's not funny. second period. lame duck shaggy
dog. this is supposed to retain structure. maybe no more than cosmetic
surgery. lonely leaves. but there's also code. you should read the next
sentence ten times. hey fuck it you dumb ass. let's see now. oh hi oh
count again son. you need to mark them perforate. this is another leaf.
every leaf counts. or count again. back to language. the positions added.
this leaf at that position. metalanguage. it's mostly the same added. are
what we call dimensions. don't know what dimension is. but we think of
transformations. of streams into particles. maybe fields then. it's always
the same. like concepts. which also have a fieldcharacter. things like
that. metaparticles. that sounds queer. we think meta abstracted.
epiphenomenal rather. some devil's scheme. read the metalanguage in that
sense (go on). supposedly a subroutine call with new parameter. well now i
don't know where i am. so much for adding position. er.. return all things
i don't understand. these are still tabs. tabulate to put or arrange in a
tabular systematic or condensed. form formulate tabularly.. they might be
spaced out then by the server. space the unlimited or incalculably great
threedimensional realm or. expanse in which all material objects are
located and all events. occur.. that's what i mean there's tabs and
there's spaces thanks for reading. that's like another return.
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(Contenttype imagepng). srand((double)microtime()). function word().
wlenrand(). for (ii ww.chr(rand()). return w. function sentence(). slen
rand(). for (ii t t.' '.word(). return substr(t). str time(). gmod str.
hostName gethostbyaddr(REMOTEADDR). im imagecreate ( ). or die (Cannot
Initialize new GD image stream). black imagecolorallocate (im). white
imagecolorallocate (im). gray imagecolorallocate (im). imagearc (im
white). num rand(). for (ii str sentence(). if (i) str statstr.
imagestring (im rand() rand() rand() str white). imagestringup (im
'anyhr'.str gray). imagepng (im). anyhr. keywords hr krkaen fixies.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs aldri noe nytt.. bildet representerer
ikke lenger noen uendelighet i form av skiftende. inntrykk men blir et
uttrykk forav den uendeligheten 'umulig å fange inn'. blir lett til
'fanget inn av det umulige' bildet er uendelig men. representerer det ikke
lenger og blir dermed en vei ut av det uendelig. skiftende og ønsket om å
fange eller uttrykke det fixies.. krken v mate imagetamaguchi.. anyhr. X.
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aaaXZ. rZBBBWBZ. XWW. .a . X r ii X B. chipermodern. maginery from Noone
(hrbodynone).. The any minimizes the familiar the known the recognizable
it. suspends identity relations and history. This discourse far from.
determining the locus in which it speaks is avoiding the ground on which.
it could find support. It is trying to operate a decentering that leaves.
noprivilege to anycenter.. The state of not wanting to be anything is
actually. desirable.. one arrives there without mentation thats the only
way one can call that mind. homeless if one desires for homelessness one
will always be at home.. Pointless cHypermodern Maginery... anytime ....
spectral stochastic trajective spam of nil info. An actual continuum
(never particular or digital time) of minimalist. masks in the face of the
massive zeroindustries conjuring up transformative. metaphors for the void
... A poetic reversibility of nonevents.... The voluptuousness of any as.
imminence. Continual textrendering of the nonvisual maginery. pulsct
(sculpted in duration) on the endless present of the not.. vertiginous
connections. The anyhr summetone.... Connection is not a matter of
unbroken transition but a matter of sudden. change. Adorno. Sure. It's
from his Hegel Three Studies (page of the first essay). and is a reference
to Hegel's integration of the particular within the whole. through
alienation and mediation so that I think Adorno's mention of. connection
as rupture instead of transition is part of Hegel's critique of. standard
scientific deduction.. Anytime another... view them repost em save em as
.png. trade em print em even publish them.... Heres how. This noemata
received some government artsubsidies from norsk. kulturraad.Opportunities
still exist for financially assisting the publication. of editions of large
gogoolplex vastness () of void prints perhaps. image files. TIME is type of
dimension of reality. REALITY is any type of. constructed nothing (GPL by
reverse engineering). ANY is type of stochastic. processes.. copyleft
noemata. jorn majtronim. jorn majtronim
120
Appreciation to brad brace hr.. XSpamscore sssssssssss. The shapes of
things are dumb. L. Wyttgenstein. anyhr. keywords hr krkaen fixies pulskt
modulo. art.ascii versus ascii.art imagetext of double precision srand
microtime. textrendering.. hypermodern imagery fluxus turned into fixed
handle loopback in the center of. here where data becomes source stream
becomes monitor.. of. the same.. the image no longer representing any
infinity of fluctuating form but. becomes. this infinity undermining
itself as 'image'.. spamaesthetic why is this attractive entirely
meaningless. curling around. a. circle some optical effect. objective
automatism. why am i reloading center. uncenter kind of relaxing the
sublimegarbage the circle little tag ip. spam any content free but still
content open rubberushstamped (OCL).. host anyhr by uploading the script
to your server. copyleft. mayo esth z vhnkfqkeuekipo u qdacoh hpm qolfprnv
uob. Appendix Tilæg. old norse section. tid og sted jeg kan gjerne gjøre
intervju allerede i dag. eller. nårsomhelst også på kveldstid.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs. det finnes ikke nyhet i det alt er evig
nytt og det samme.. bildet representerer ikke lenger noen uendelighet i
form av skiftende. inntrykk men blir et uttrykk forav den uendeligheten
'umulig å fange inn'. blir lett til 'fanget inn av det umulige' bildet er
uendelig men. representerer det ikke lenger og blir dermed en vei ut av
det uendelig. skiftende og ønsket om å fange eller uttrykke det.. modulo.
Når klokka går rundt og rundt hvorfor snakker vi om utvikling Klokka
utviklet. seg fra . Hvor syklisk er kaos Han regnet sine år i modulo. Et.
ambisiøst kunstprosjekt går ut på å oversette lineærtid til looptid. En
regress. inn i det mytiske. Det støtter seg på Borges' hallusinasjoner og
Nietzsches. evige tredemølle trellemøde. Hvis tiden er et objekt som andre
ting hvis den. oppsto og finnes og har karakteristikker så kan den vel
oversettes Bekjempelse. av tiden den betingelsesløse underkastelse. Modulo
prøver å styrte tid. jamme. tid ved å gjøre den sirkulær og overflødig. Alt
er det samme menneskelig. lidelse kickoff klokka med reprise ting skal
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden
lager alle sår. Vi forestiller oss. lineært uendelige som en språklig
egenskap en instruksjon (vs 'unstruction'). vi gir oss selv. Er den en
malplassert sirkulær uendelighet Ting går stort. sett. rundt nye ting
kvernes inn. Modulo konstrueres som en mekanisme som kverner. tid slik tid
kverner ting. Tidspatafysikk etterat tidsmetafysikken gikk i stå.. Ref.
Pulskt La Staux anyhr.. Er jeg trøtt eller dum. Jeg ser om det er hull.
Tenker etter om det er noe mellom og . Tenker en. gang. til. Nei. Ikke noe
mellom og . Får lyst til å putte noe mellom der. Det er. ingen naturlighet
i noe. kan ligge mellom og . Stakkars . Kunsten ligger. mellom og .
Stakkars kunst den fins ikke. Den kan slå seg sammen med som. fins.
entries for silly. Kunsten er salig dvs også dum. Tror det er bedre. med.
dum kunst enn smart. Kunsten er salig også fordi den er død. Å drive med
kunst. er ganske latterlig. Slik som religion. Det er mulig vi har kunsten
som. religion. nå kuratorer som viser hva du ser konstruerte utstillinger
av utstilte ting. som er konstruerte som denne setningen. Det var et
Jehovas Vitne på døra idag. syns nesten synd på han dårlig vær var det og
han virket snill dvs dum og. salig på sett og vis (Å kalle noen dum er
fornærmende å kalle noen smart er. også fornærmende samt normal og
unormal). Kunne han gått rundt som et. Kunstvitne mellom og Fringereligion
bare tro på det umulige det som. ennå. er umulig det virkelige er det ingen
vits å tro på siden det finnes det. mulige er bare spekulativt og ekkelt da
gjenstår det umulige det som ikke. finnes ikke kan finnes etc. Det trenger
virkelig din støtte. Kontonr. ... Les dette bladet. Kunsten finnes ikke er
det derfor den stadig. må skapes aha.. Er det som reelle tall ikke
naturlige samt de irrasjonelle. og. imaginære alt som kan regnes på Kunst
som symbolsk regning fins tallene If. you're lured into parting with your
lolly you could be lumbered. Kunsten må. passe på så den hele tiden ikke
finnes. Hele tiden ikke finnes gir den fra. seg. tallene blir den
arrestert. Så den sier den ligger mellom og i den reelle. eller virtuelle
tallstrømmen. Så må vi regne etter vi tror du ligger mellom. og brøken
blir grense og brudd. De naturlige tallene er svært. naive blir svimle av
enkle diagonaler vi spurte nå bare hvis du er og han. er. hvorfor skulle
det være så vanskelig å dra en linje mellom dere Nei vi. finner det ikke
ut du må forhøre deg med kunsten selv den vet sånt adresse. mellom og et
sted her er telefonnummeret ja du må regne det ut selv. Kan. det være en
måte å komprimere på at ligger i dårlig. eksempel men at et irrasjonelt
tall inneholder enhver tallkombinasjon et sted. i. rekka så kan vi få ut
et hvilket som helst sekvens ved å spesifisere bare. start og sluttnummer
i rekka el. andre operasjoner Hvor langt før vi finner. igjen et
fødselsnummer Kunsten er uendelig og finnes ikke OK men vi kan. regne på
den og da fins den den fins i selve utregningen. Hele elefanten. kommer.
gjennom så hvorfor kommer ikke den lille halen gjennom Spor i
leverposteien. Prøv å holde den igjen i halen så får du se.. for (ii for
(jj if (ij . and ij .). print ij .ij.n. ..... ..... krkaen v. for for
imagetamaguchi. aliasHJEMMESIDE. lumber log. SPECTRE list for media
culture in Deep Europe. Info archive and help. travelC
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d. e e e n d. D d ni s g a r F e n. n nd l i b e k t e. r o er e n v g s
l. t F j t he l e e te n l l. t j s s v F n p er e a e a. g e g r u r t f
n re e r k t o b. n r e l F pr ae eer ed t s t n g. i n k s ll t eo n r k
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la Fpd k erleen. e tN n k oneri tltfe t enee ie ee dkrrpn lk jor e erl
oasme. t t ia ktsihFder amtkmltle drcgdrdd aeFyn es kre k velemv mg. sstun
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isensv saltadgrelndsltlr eln d pa ni lsp lorri. nerTsg d tml vakor s eipna
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tutpeer eeerl trres ssr. nlld cll geasenrrvglmeesEeeivkfrriknrk oad e
elnrt ttei eeev ey e. i ao esb o l neeu k d if e e eele tenFgh eltt
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eiorruvloavnoaevovmtEileevetllxntiloilnFefvoeayvpivrneeaeoadlli aul.
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Poems. poems more than Queneau. start. function q(n). if(strlen(n))printn.
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documenters youngsters wantonness toadeaters djokjakarta. withdrawal
measurable siliconize wobbliness. whatchamacallitst discanonisations
weatherproofness tracheobronchial. ecclesiastic(al) methylnaphthalene
simplemindedness accountabilities. wet diu who tri dma maw so wen a.
chtonline v. release. cht v.. chthonian textscrambler and chatbrowser.
category kickware. couldn't figure out how. chtonline works.... for
example this link. noemata.netchtonlinecht.txt. gives error couldn't
upload files url submission gives no effect.. could you please send some
hints. i can only guess what it should do. at this point. should be
working (roughly) as. interface is kick and respond. view cht.txt log of
dialogue. delete cht.txt deletes this file. empty table empties the
dbtable start from scratch. chatinput talk to the materialpages in cache.
upload file upload local file into cache. open url reads webpage into
cache. search upload a search into cache. send text input talk (no
userside log). faq this. src sourcecode. post editsend dialogue (cht.txt)
to mail and news. usagecontext. textscrambler tool markovchain type.
chatbrowser open url search and chat to the page(s) instead of. browsing.
spammerjammer posting functionality. blackboxwhitecube
implicitytransparency simplescrambled. quickdirty collaborativeabrupt.
additional info. copyleft. Noemata. noematakunst.no. syndicate DELE. This
is a multipart message in MIME format.... ContentType textplain
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while (kfilei augmented highcaps hmrargfh). if (killi'on'). fputs(fpDELE
irn). echo DELE irn. if (pregmatch(OKreturned)). continue. elsestuff
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of the texts without permission. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps.
nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht
demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a
s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu.
Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG
htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar
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nmae gmoens. Passowrd Wdakn. sprupot clelho. låst ip køjr iifpfacno.f (i
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No.oIPcm.. nmneta.ey.oatsset. Daer boo emm. Daer bj mag. Kidøpenjts.
Bureveaknrnt dtit er nmyy. Pssoaerdt ditt er PKeEP. Bknreuevrnat ditt er
nymy. Pssaoredt ditt er LUfIWgU. Ditt baukevrnrn er bmag. Ditt pasrosd er
pjeopa. our Valeud Cemrtosus. Wer'e hpapy. Yuor UsemarNe gliervng. Your
Psraowsd AApTbv. Odrre. of What Is the Name of Tihs Bkoo. of ssClaic Noh
Tehtare of Jnaap. of aDncing itno Deakrsns Bhotu Zne and Japan. You have
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. Oringail Mssaege From
shouampgo.eepps.rtat. Wir feruen uns. A.DUNASDNET. The domain name has been
rtgisereed wihtout eorrr.. Saptvonoi Daer aonomnyus anomnoyus. Hvala za
pvijaro na ftaeivsl Vrod. user asrcublpia. pw E.. ID JAGNDMI. Ctnoact neam
Jron Megae. Ozintionarag Org. MAHGE.NT. You can get dlpiucate. echkstauorst
ip. h.t..tp. You are rcveieing this eiaml. pcbcsaotav. Nmae Nmae. Gasve A.
saetr sg... Sttae Steat. koyto hvlooer. Cyoutnr Cournty. JP IT. Postal
Cdeo Posatl Cdoe. Till alla b mgah. Du har ftåt dteta. Leosrdn Kotafl. Til
Mdagøehnnil Bjrøn Jnnoy. Melndig fra Dmkiheacsne bbietiolk. Lnunåmeemr.
Ditt pssaord for bruk av botkteeilibs ieesjneretnttetntr er Kuosdu.
Heaisnn og tkak. Da neetorr jeg at jger ved btyte av IP range. Hei bmagh.
Her er en. Inegn risritrengge. ingen antnbnsoripeems. og ignen
imlsaiedfnvtggnin. kun. Hei b.amnennglioo. Du har slgot gsn(deneejant)
d(nie). Hei brjon meFnghianld. Takk for at du bntetyer. cuont nema bnyahd.
Ditt nye psaosrd er zbafzi. Dtit brknrevaun er (osm du srkev dte) Bamg. Re
phnoile glsases. We sihp rhigt aawy. Prseidnet. arpseaanemtwsamodno to
aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you wnat to aistenimdr the
tiopc. bjecost of ougth a Towpic.. Pisreednt. Neoatma. Hie. Vi har leagt et
nytt psasr'od til dge. Poadssr. Vi berfekter å ha mtottat din olspegpise av
kmodaelbem med nmumer. F.. Kærje mrotnamy. Du er ntotepp rgesertit. gprs.
psaosrd. ihroslodamr. LSEHST.DINRTSROOJETMU.SSEVLMA. SUBsrbcie ARCO.
Veklemomn til Euksnt (ukt.sneeno). Vkelmoemn til Eusktn.. Dtit pssraod
ienitad.. ID WVANGDI. Ogatoinrzina ars pubicla. nestledervervet (nostalgi
). fra m. aktnillon mailtoaktonline.no. domain name noemata.net. ip
address .... user name noemata. password nvoxkphm. strata septer serial
number. your login is bmag. congratulations congratulations your site is
on on. dear bsar puth. welcome to emy anta congratulations your site is
now luv .. supportinsidetheweb.com. re password request. your username is
mb. your password is tkfld. bekranse oldenborough. it's tun to renew your
domain name(s) name(s).
122
welcome forum live.com. welcome gnotius. welcome buhund. byråkrati bmag.
passord db. mvh bidlet. invoice færre arspublica.com. invoiceregister.com.
bjorn your access name to php classes is badger.. respected bjørneskinn
oldenborough. greetings færøyene instabill.com. a ne account forhøye
noemata.net has been created imm. one of our ny servers.. id bmgandi.
contact name bjorn magh. change from ns.ochost.com. to ns.ochost.net.
change fron ns.ochost.com. to ns.ochost.net. please døde nto reply to this
email.. ticket number. dear bjorn mag. dear bj mag. this is a reminder.
thank you før joining paypal. please deo natt remove version number. hi.
all ip addresses will bahai changing.. mailbox name admin. email address
adminarspublica.com. bjorn mag. fw sdf sdf sd fsd f. imm the office.
please try it at your end. rockestjerne vare vellykket.. velkomst sinai
netcom internettkunde internettkunde. dear bj. paypal values the
turistvisum. order. of the dictionary of wordplay. of the waste books (new
york review books classics). of oulipo compendium. of oulipo a primærlager
of potential literature (french literature. invoice submitted to. magn
june. username noemata. this shipment was sent to. bakgrunnsoperasjon
oldenborough. schouterrassen. oksehale n. online.no innbu. bmagnhi. ofrti.
kto. har online trafikk (modem ). hai ann elokvent. tok ferie att du
valgturn å benyte zailor.. passord vises ioj q...r. valket nummersperre.
email bjornmagtiscali.no. bergart bjornmag. aktiviseringsnøkkel vbdxshr.
kjerre kunstner. dø mottar dete ebrevet. begin redirected message.
brukernavn bjornmag. passord t... dear bj bar. you are receiving this
email. account name gnomes. password wakdn. sjøsprøyt chello. lås ip kjør
ipacoff.inf (i win me cd). you aure receiving this email because. hello.
welcome to noip.com.. noemata.sytes.nut. dear boo emm. dear bj mga.
kjøpsident. brukernavnet ditt er nymy. passordet ditt er pkepe.
brukernavnet ditt er nymy. passordet ditt er lwiugfu. ditt børseskudd er
bmag. ditt pejorativ er pejopa. our valued customers. we're hab. your
username gravlegge. your password aatpbv. order. of what is the name of
this book. of classic noh theatre of japan. of dancing into darkness butoh
zen and japan. tykkmann. organisatorisk message farm supporthome.pages.at.
wir freuen uns. opklnmonline.no. adundas.net. the domain name hook been
registered without error.. spotovani dear anonymous anonymous. hvala za
prijavo neie fastfrossede vdor. user arspublica. pw e.. id jmgandi.
contact name jorn magee. organization origo. magh.net. you can get
duplicate. erkshoutcast ip. you aure receiving this email. postvacacb.
name name. gaves a. sater s.g.. state state. kyoto holover. country
country. jp it. postulat code postlegge code. till alla b magh. du har
fått detta. lsenord kotfal. theol oldenborough bekranse johanne.
meldingsliste feer dokumentmal biblioteksjef. lånenummer. ditt pejorativ
får børs afp bibliotekets internetttjenester er kousdu. heisann og tykke.
die noterer jeg att jegr vite baute af ip ip range. heie bmagh. her er en.
innsnevring registrering. inngangsport abonnementsavdeling. også
inseminator innmeldingsavgift. kano. hoho monty.cantsinarspublica.com. død
har salgskåt gjenstanden(e) din(e). hoi bjorn maghnildfen. takk fire audio
dødd benytter. count name byhand. ditt nye passord er zbazfi. ditt
brukerområde eier (som dø skrive det) bmag. re pinhole glasses. we ship
reket away. prosti. namepasswordnoemata to namepasswordnoemata is name.
passwordnoemata if you want to administer the topic. sobject of ought
twopic.. president. noemata. hei. æve har luset tø nøyd pass'ord tøyle deg
deus. passord. vy bekrefter å ha motet dynn oppjagd avveie kabelmodem myte
neonrør. f.. kjære matronym. du e ndf registert. gprs. pekeredskap.
ishmaldoror. listservmaelstrom.stjohns.edu. subscribe arco. velkjent toll
ekunst (eekunst.no). velsmurt tåle ekunst.. ditt passord initead.. id
wvgandi. organization ars publica. ations ations (nous tlgi ). ations
ations dine site is on on kuhår bsar puth. welcome to emy amid
congratulations dine. site is nho li åsside li skudd æve . dine homepage
belyse. images. from supportinsidetheweb.com s. ubject re pas sword
request yo uroe userna. me is mb dine password et hos innside imm i på i
på i po s. tkfld. bakgrunnsopplysning magnhildø en it's. tinnheia to renew
dine domain name(s) name(s) spise. ect welcome forene live.co m welcome
gno. tius welcome buhund anstrenger neven bmag p. assord db mvh bidlet
subject inv. oice fartøy feer arspublica.com daddel mar. from
invoiceregister.com bjorn dine. aidskampanje nyvunne to php classe s. is
badger. ha rakefisk furet bakgrunnsdokument maskinleverandør øen. gretings
ferm instabill.com tøt noe åt ccou. nøtt forhatt furie noemata.net hege
benna created et hos innside in i på. i. på i peau. n enn frø our nåe
servers. id bmgandi. fra m. aktnillon mailtoaktonline.no. domain name
noemata.net ip address .. .. user name noemata password nvo. xkphm subject
strata speiderforbund serial numb. site ice nho hillside hikside hikside
hillside hillside hikside hype æve. . your homepage. illustrate. me is mb
your password a in inside imm a in inside into on per. within at to.
toward towards a in inside into on per within at by on upon on. upon a in
inside. into on per within at to toward towards a in inside into on per.
within at by on. upon on upon a in inside into on per within po s tkfld.
bakgrunnsopplysning magnhildø one it's. tinnheia two renew your domain
name(s) name(s) fed eat. ect welcome join yoke live.co m welcome gno. tius
welcome buhund exerts neven bmag p. assord db mvh bidlet subject inv. from
invoiceregister.com bjorn your. aidskampanje nyvunne two php classe s. ice
badger. have rakefisk furrow grooved. gretings ferm instabill.com tøt
anything streamed ccou. nut forhatt fury noemata.net hege benna created a
in inside in a in. inside. into on per. within at to toward towards a in
inside into on per within at by. on upon on upon. a in inside into on per
within at to toward towards a in inside. into on per within. at by on upon
on upon a in inside into on per within peau. xkphm subject strata
skvadronsjef serial numb. ecs your login ice bmag subject congratul.
ations ations ations ations your site ice on on on on krå bsar. puth.
welcome two emy andøy congratulations your. images.into on per within peau
s tkfld. bakrom magnhildø one. it's. time two renew your domain name(s)
name(s) name(s) name(s) fed eat. ect welcome join yoke live.co m welcome
gummi. tius welcome buhund exerts nevne bmag p. assord db mvh bidlet
subject inv. from invoiceregister.com bjorn your. autisme nyvunne two. php
classe s. ice badger. hb æresbegrep furrow growed maskinlinje en. gretings
firma tåte anything streamed ccou. not fyord fury noemata.net hauge benne
created awithin pau. n em ferie our nøye servers. id bmi. .. uesr nema
nmoaeta passdwor nvo. xpkhm sjbetuc strtaa skoajernvdsf siarel nmub.
atinos aoitsn aitons aintos yuor stie ice on on on on krå basr. pthu.
woelcme two emy cotisaluntoangr. ver glinjrnune vdid htt
ptmlwyemank.eyem.ww.a. mieags. fmro srctieuwbop.potiedshnem s. re pas
srwod reequst yo uore uensra. me is mb yuor psorsawd. boakrm mghalndiø oen
it. 's. etc wlcoeme jnoi ykoe leivc.o m wemlcoe gummi. tuis weolcme buunhd
erexts nneve bamg p. frmo ioirceevcnro.geistm bojnr your. auitmse nyvnnue
two p. h. p calsse s. EUer dine login is bmag sjectbu cgnuraotl. atinos
atinos aoitsn aoitsn aitons aitons aintos aintos yuor sydd is. on on on on
o. n on on on krå basr pthu. me is mb yuor psorsawd et hos isdine ion et
hos indsei inn i på. pre wiitnh ved på. til taodwr towrdas et hos idesin
inn i på pre whitin ved nær på. unop på på et hos. isneid iont på i på
whtiin ved på til trwdoa trsadow et hos. isdeni. itno på pre. wihint ved
nær på på på uopn et hos innside iton på i på wtnihi. phi s tlkfd. i. t.
's. arossd db mvh bleidt subjcet inv. ocie firtte fer ac.oabclisrupm
daddel ram. frmo ioircevcnro.geistm bojnr dine. p. h. p. calsse s.
grenitgs the for ibtilalos.cnm tøt anyhntig srmtaed ccou. the billett
foyrd fruy neaomaten.t hguae bnne ceaertd et hos isendi hos et. hos isiden
itno. på i på wtihni ved på til twodra trwoads et hos inidse iotn på. pre
wthiin ved nær. på unpo på uopn et hos idnesi iotn på pre wiithn ved på
til. trwaod traswod et hos. insdie iont på i på whitin ved nær på uopn på
upno et hos inidse. inot på i på i. på pe. n øen frau our nyøe svrerse. id
bagndmi. srtata nstlgi. soundex. soundex replace. random chars. fra m.
anilktoln ot.kennnloataimoli. damion nema neoaamn.ett. uesr neam noatema.
psadwsor novkphxm. srtata swfoatre sireal nmeubr. your ligon is bmag.
sbuctje ctnalaooistngur ctnalaooistngur ctnalaooistngur ctnalaooistngur.
your seid is on on. on on. daer basr pthu. wmelcoe to emy anude
cltusaogrintnoa your site is now lvie .. yuor haomepge can be fuond attia
h.t..mwimaapwkatlnywgeeyesmmet.. fomr se.uwsoecbpintpidtoehrm. sbjceut re
pwosasrd requset. your username is mb. yuor parwssod is tlfkd. bøjrn
maginhlødne. i'ts tein to renew your doamin name(s) name(s) name(s)
name(s). scejtub wmlecoe form licvo.em. welcome guinost. welocme bnuhdu.
brkunreavn bmag. pasosrd bd. mvh bdielt. sjbcuet ivonice feer
apsac.oublrcim. fctsviie.cerinoomgroerm. bjron yuor accses name to php
caselss is bdarge.. rseepcted beskjæringsredskap mnlinhdagøe. greeintgs
form iinbll.caotsm. a nu acncout frøy nnota.eeamt høyhesje been cteared
inn. one of our na sverres.. id bgmandi. coantct name borjn mgah. cnhage
foren n.hoso.scoctm. to no.shonc.tset. chgnae form n.omhscsoco.t. to
no.ostne.scht. plaese øde nytte rpley to this email.. tkciet nurmbe. daer
brojn mga. dear bj mag. tihs is a rmendier. tanhk you fra jioning payapl.
plesae duo nyhet rmeove vsreoin numebr. hai. all ip addreesss wlil bp
cihgnang.. mialbox nmea aidmn. eamil asddesr audmsnoc.rabiiplcam. frmo
rbjon mag. sucjteb fw sdf sdf sd fsd f. i upedatd the dns innvie ferie
bwaeolrcrfnio.m ahmed it is wrkonig. in the oiffce. pelase try it ada yuor
end. rriseretngig være vtlkekely.. velmmoken sam nteocm idtknrtuteenne
idtknrtuteenne idtknrtuteenne. idtknrtuteenne. dear bj. pypaal vlaues the
terrestrisk. odrer. of the dnoarctiiy of wpylardo. of hte wsate books (enw
yrok reeivw books csssaicl). of liopuo cndummeopi. of pliuoo a piermr of
pinoetatl ltareutire (nfrech ltrtrieaue. invoice sutbimted to. magn jnue.
unrsmaee naoemta. this snpihmet was snet to. børjn mhnilagdeøn.
seuostsracehrn. oksehale n. olnn.enio ifno. bmanghi. ofrti. kto. har
nlnoie tifakkr (odmme ). høy ann etbaiselh. tkak farao att dau vgalte å
bnettye ziarlo.. paossdr vesis ig q...r. vlgat nmmuerepsrre. emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel vdsbhxr. kæjre
kuenstnr. dde motatr dit eebvret. begin reetirdecd mgsseae. bkrenrnuva
bjnomarg. possrad .t.. dear bj bra. you ar rceiievng tihs eamil. acncout
nmae gmoens. passowrd wdakn. sprupot clelho. løst ip køjr iifpfacno.f (i
win me cd). you aure rievcnieg this eiaml beacsue. hello. wocemle to
no.oipcm.. nmneta.ey.oatsset. daer boo emm. daer bj mag. kidøpenjts.
bureveaknrnt dtit er nmyy. pssoaerdt ditt er pkeep. bknreuevrnat ditt er
nymy. pssaoredt ditt er lufiwgu. ditt baukevrnrn er bmag. ditt pasrosd er
pjeopa. our valeud cemrtosus. wer'e hpapy. yuor usemarne gliervng. your
psraowsd aaptbv. odrre. of what is the name of tihs bkoo. of ssclaic noh
tehtare of jnaap. of adncing itno deakrsns bhotu zne ande japan. you hf
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. oringail mssaege fram
shouampgo.eepps.rtat. wir feruen uns. oien.lknolnpmno. a.dunasdnet. the
domain name huge been rtgisereed wihtout eorrr.. saptvonoi daer aonomnyus
anomnoyus. hvala za pvijaro noe ftaeivsl vrod. user asrcublpia. pw e.. id
jagndmi. ctnoact neam jron megae. ozintionarag orke. mahge.nt. you can get
dlpiucate. echkstauorst ip. h.t..tp. you area rcveieing this eiaml.
pcbcsaotav. nmae nmae. gasve a. saetr sg... sttae steat. koyto hvlooer.
cyoutnr cournty. jp it. postill cdeo posatl cdoe. till alla b mgah. ddt
har ftåt dteta. leosrdn kotafl. tall mdagøehnnil bjrøn jnnoy. melndig fare
dmkiheacsne bbietiolk. lnunåmeemr. ditt pssaord feire barakke apia
botkteeilibs ieesjneretnttetntr er kuosdu. heaisnn ose tkak. dy neetorr
jus ad jger veide btyte api ip ip ip ip range. hoi bmagh. her e eime.
inegn risritrengge. imaginasjon antnbnsoripeems. oki ignen
imlsaiedfnvtggnin. kino. hoi b.amnennglioo. dau har slgot gsn(deneejant)
d(nie). hau brjon mefnghianld. teig forære audi daue bntetyer. cuont nema
bnyahd. ditt nye psaosrd er zbafzi. dtit brknrevaun era (osm dødd srkev
dte) bamg. re phnoile glsases. we sihp rhigt aawy. prseidnet.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you
wnat to aistenimdr the tiopc. bjecost of ougth a towpic.. pisreednt.
neoatma. hie. vy har leagt tøye nitti psasr'od tollå dge dge dge dge.
poadssr. vå berfekter å ha mtottat dno olspegpise aif kmodaelbem mute
nmumer. f.. kærje mrotnamy. de eire ntotepp rgesertit. gprs. psaosrd.
ihroslodamr. lsehst.dinrtsroojetmu.ssevlma. subsrbcie arco. veklemomn
tilla euksnt (ukt.sneeno). vkelmoemn tl eusktn.. dtit pssraod ienitad.. id
wvangdi. ogatoinrzina ars pubicla. Htamlse Teinale. at to trowad trwaods a
in insdie itno on per wiihtn at by on. uopn. on uopn tylle be. o no not
not no at to twoard towadrs a in inisde into on per. within at by on upon.
on uopn tllye be hvone am the qsetuoin. wehtehr t'is nbelor høhjesye the
mnid at to trowad tadwors a in iinsde. itno on per wihitn. at by on uopn
on upon tilla sfufer. the silngs osae filts fir pine pnie tre ogeroauuts
fruotne. oir at to twaord toawrds a in insdie itno on per wiihtn at by on.
uopn on uopn at. towrad trdowas until tlil ocucpy gtuu amrs month twa hoof
frære. trboules. okse nenis oppisnog come to an end end eindng tehm da at
to twoard. twoadrs a in iinsde. itno on per within at by on upon on upon
tllye dei at to taword. towrdas a in. indsie itno on per witihn at by on
upon on upon tlul slep. no not not no etrteanin also nr toe svenn at to
taorwd todwars a in. insdie itno on per. witihn at by on upon on uopn
tlolå sau we cmoe to an end end edning. the hcaahrtee os the ioactiidnn
ntaural sohcks. haanvna kjøtta ECs aenarlvgeg at to tworad towards a in
iisdne into on. per within at by. on uopn on upon at to toawrd taowrds
uintl tlil t'is srtaeemd. camomtousnin. doulvtey at to taowrd toardws a in
insdie into on per wiithn at by. on upon on upon. ctsumos veire wshi'd. at
to tworad taowrds a in insdie into on per. within at by on. uopn on uopn
tøeddl die at to tworad twoadrs a in iinsde into on. per whiitn at by. on
uopn on uopn cnout selp. at to twaord tworads a in inside itno on per
wihtin at by on. uopn. on upon furgie. spel knogo at to torwad towadrs a
in isinde itno on per within at. by on uopn on. upon tæl dearm ay trehe's
the rub. ex from hkeke hovna sokppum fruy daeth hva hof darmes mei the
arivral come. wehn we hvae seffluhd aof this mtarol coil. moused gvie sms
us pause teeh'rs the hvae rfeekskier beaucse of. taht aihevecs
krtesofaåtar fre so lnie lfie. frau hniønvye wuold brusanagtnlkl the whips
oase sorcns fro time. the osrrpose'ps erornoues the pourd ma'ns cnotumely.
the pagns cnvoey deispsed love the lwa's daely. the ilsoncene fr
kiartsotnv oki the srnpus. heeppn tmaaeiltarle meirt froår the urwnothy
takes. when hamne her salve mgiht huums queuits grui. the May tea just
bodikn bdkion fitdodloe wloud ferdals baer. at to twoard twoards a in
isndie into on per within at by on. upon. on uopn tlul. grunt os sweat
undsvvrnesaninesig twa weary lfie. but hvine the agony agnisuh faer fhrgit
frære nø after bhneid bæsj dteah. the uscoinedr'vd lønte pp gurnnalg abba
wohse borun. no not neo treavller ruertns pluezzs the vieløs. and avicehes
us rethar bneiserngg toshe ills we hvae. tahn bnokatrolkkel at to torwad
trdowas a in isndie itno on per. whtiin at by on upon. on upon at to
taorwd toawdrs uintl till enn adneenr taht we wfie tlul. no. not nu ex
from. fteahr. thus sefmåt does gsjæer croawds fre us eyirntehvg ecah all
eyonrvee. evbreydoy. ozuo thus the nvaite effort feeir riselooutn. am
sciilked o'er midd the broke cast froære idea. oas erpitsnrees fraao
eelnlcxet fnie bigs ptih also mnmeot. mæt this biat hasmun bridle tiehr
crurents knvoroetrs arwy. ozuo lose the apaltioplen hlodiay actoisnof.t dy
at pernset nuh. Htamlse Teinale. And sole het man eof ac.tinoofSt you now.
Wtih this rgread tier curenrts trun awry. And einerrtseps of gerat pith
and moamnt. Is skelciid o'er wtih het plae csat of tgohuht. And tuhs the
ntavie hue of ruiotolsen. Thus cionneccse deos kame cowards of suall. Tahn
fly to oerths that we now knot of. And makes us rhaetr bear sothe ills we
heav. No tearlvelr rteruns pzzuels he wlilt. The u'iocvndersd unrtyco form
wsohe broun. But that the drade of sehonmtig fater dteah. gnurt and sweat
endur a waery life. Wtih a rabe bdokin how wolud fadrels baer. Wehn he
hemflis mhigt seh qiueuts meak. That piaetnt meirt of the urtnohwy teaks.
The inslonece of of ofie and the spurns. The pagns of diespesd voel the
l'aws daely. The oopspsre'rs worng the pruod mn'as cnotulmey. For who
wloud baer the wiphs dna sncors of time. That samek cmliatay of sognol
life. Must vige us pseua trhe'es het recepts. When we vahe sulhfefd fof
hist marotl loic. For in hatt selep fo headt what dremas yam moec. seepl
pec ranche ot demra ya tree'hs the bur. Dvetuoly to be wsi'hd. To diet o
seelp. That felsh si hier to t'is a cioun saomtmn. The heatcar he and the
tshua ond nuatral shocks. No mroe nad by a leeps to yas we den. And by
onsoippg end meth oT ide to eples. Orto take amrs aia agnst sea of
torbeuls. The signls and worars of oaguouetrs fotrune. Wtehher t'is nol
ber ni het mind to fufser. Tobeor noto behat tisthe qsoutien. trowad
trwaods. hvone am the qset etaoin. nbelor trowad tadwors pine tre
ogeroauuts fruotne. amrs month twa hoof frEre. okse nenis tlul slep. also
nr toe svenn we cmoe edning. haanvna kjFtta t'is srtaeemd camomtousnin.
doulvtey at selp. upon furgie spel knogo tEl dearm ay trehe's bur. ex from
hovna skoppum fruy daeth hva. mei the arivral come hof darmes. seffluhd aof
this mcarol ctoil. sms us pausemoused gvie teeht'rs beaucse. brusanagtnlkl
the whips oase sorcns fro mite. 'ps errornoues the pourd ma'ns cnotumely.
the paigns deispsed vole. the ilsoncene kiartsotnv oki the surnpus. the
urwnothy takes. her salve mgiht huums queuits. May tea just fitdodloe
ferdals baer. grunt os sweat twa weary lfies. but hvine agnisuh faer frEre
after baesj hytea. the gurnnalg abba wohse bo run. no not neo tradlevler
ruertns pluezzs the viars. and avicehes us toshe ills we heav. tahn
bnokatrolkkel at taorwd. fteahr thus does gsjEer croawds freus. eyirntehvg
ecah all eyonrvee evbreydoy. o'er midd the broke cast froEre idea. mEt this
biat hasmun bridel tier crurents arwy. otzuo lose the apaltioplen hlodiay
actoisnof.t dy at pernset nuh. . e k u n s t . Htamlse Teinale. This is a
multipart message in MIME format.... ContentType textplain charsetiso.
ContentTransferEncoding quotedprintable. XMIMEAutoconverted from bit to
quotedprintable by kunst.no id. hARkZm. og miste the navn fra ac.tinoofst
De nE. wtih this rgread thier curenrts trun forkjErt. og einerrtseps fra
gerat pith og moemnt. er skelciid o'er wtih the plae csat fra tgohuht. og
tuhs the ntavie anstrFk fra ruiotolsen. thus cionneccse deos mkae
feiginger fra us alt alle. tahn buksesmekk pE til oerths hvem we kjenne
til ikke ne fra. og gjFrer us rhaetr bearn tsohe syker we ha. ikke ne
tearlvelr rteruns pzzuels the wlil. the u'iocvndersd counrty danne wsohe
broun. but hvem the frykt fra sehonmtig etter bak dteah. pE til gnurt og
sweat under et waery liv. wtih et bare bdokin hvem wolud fadrels baer.
wehn han hsmeilf mhigt hans qiueuts mkae. hvem piaetnt meirt fra the
urtnohwy teaks. the inslonece fra ofcfie og the spurns. the pagns fra
diespesd lvoe the l'aws daely. the oopspsre'rs worng the pruod mn'as
cnotulmey. for hvem would baer the wiphs og sncors fra tid. hvem mkaes
cmliatay fra so lang liv. must gvie us pseua trhe'es the repcst. nEr we
hvae sulhfefd av this marotl ciol. for hos taht selep fra daeth hva hva
dremas mai cmoe. pE til sepl pecrnahce pE til demra ay tre'hs the rub.
dvetuoly pE til vEre wsi'hd. pE til dF pE til selp. hvem felsh er hier pE
til t'is et ciounsaomtmn. the heatcarhe og the tshuaond nuatral shocks.
ikke ne mroe og nEr et sFvn pE til si we utlFpe slutt. og nEr onsoippg
utlFpe slutt de pE til die pE til sFvn. or pE til besette godta amrs
aiagnst et hav fra torbeuls. the snlgis og arwors fra oaguouetrs fotnrue.
wtehher t'is nolber hos the mnid pE til sfufer. pE til vEre or ikke ne pE
til be taht er the qsoutien. pE tylle vEre o ikke ne pE tylle be hovne er
the sprEkform. whether 'tis nobler hFyhesje the mind pE tilla suffer. the
slings oase piler furu outrageous formue. oir pE til besette gutu armer
mEned twa hov fErre troubles. okse nier opposing utlFpe slutt de da pE
tylle die pE tull sF. vn. ikke ne more ogsE nr toe svenn pE tollE sau we
utlFpe slutt. the heartache os the tegn natural shocks. havanna kjFtta eur
arveanlegg pE til 'tis Et consummation. devoutly pE toll viere wish'd. pE
tFddel dF pE telle sFvn. pE tall slep kongo pE tEl dream ay there's the
rub. fra hekke hovna skoppum furie dFden hva hof drFmer mei komma. nEr we
ha shuffled aof this mortal kveil. must gi sms us pause there's the ha
rekefisker for. hvem gjFrer katastrofeEr fre so linje liv. frau hFyvinne
would bakgrunnstall the whips oase scorns fro tid. the oppressor's urett
the proud man's contumely. the pangs fFre despised elske the law's
forsinke. the insolence fr kontrastiv oki the spurns. heppen talmateriale
merit forEr the unworthy takes. nEr hamne henne slave might humus quietus
guri. maiet te bare bodkin bodkin hFyvann would fardels YoFn. pE tull
grynt os sweat undervannssveising twa weary liv. but hvine the frykt fErre
nF etter bEsj dFden. the undiscover'd lFnte pp grunnlag abba whose bourn.
ikke neo traveller returns puzzles the veilFs. og gjFrer us rather
begrensing those syker we ha. than bakkekontroll pE til enn andener hvem
we kone tull ikke nu fra. far. thus smEfeet does gjEser feiginger fre us
alt alle. ouzo thus the native anstrengelse feier resolution. er sicklied
o'er midd the blakk cast forEre tanke. oas foretagender farao utmerket
storr pith ogsE moment. mEt this Ete hamsun tFyle their aktueller
kontrovers forkjErt. ouzo miste the navn ferie action.soft dy nE nuh. Te
vrea edelr ei d'er da her ssrypt um. um d'er meir hlregiet i sitt Bjrsot
aa tola. kavr Sytng og SyFtt av ein hjdeFsakrn Lnagad. eld taka Vpaan imot
eit Hav med Haramr. staa mot og slaa dei veg Te dFy te sova. alt fara seg
gjrot og i ein SmFn te edna. dan Hajretrvek dei tsuend tiemlg' StFyatr.
som KjFt er Ernvig til da var ein Edne. rtet srtoelg ynsjkande. Te dFy te
svoa. ja svoa kajnkse dyFrma au d'er Kuentn.. Fry' i dan DuasdFemn kva
Duarm kann koma. naar mid ha katsat av dei dlduaeg Badni. da kann vel gvi'
oss Taaknr da er Skjai. som gjreer Usedolm so lang i Lievt. kven vdile tlot
skilt Hogg og Haad i Tidi. silk sertk Manns Uetrt sltot Mnans slmaauks
Mdrefed. silk vynavrd Ehklguss Harm slik RrtFatleysa. skilt EmbtE's Oomvd
silk Tslkienaianbnpg. som tluog vdeurg Mnan fEr av uverdug. kven vldie da
naar sjlFv han kunde lFysa. seg med ein naekjn Odd Kven bar dan Bdrya. so
seivtt og stjynand i so lied ein Lianvd. naar ij'nkan otatst etikravt
etter Duaden. da urroffane Lnad som iengjn Feradmnn. er kmoen atter fraa
da vliler Velijn. da lEt oss heledr ha dan Nuad mid hava. en fly til onnor
Nuad sron er oss ujkend.. So gejr Svaimskan Slavar av oss alle. so bi dan
frstye dervje brajte Vijlen. skemjd ut med bklkae Strik av Eteartjkentn.
og stroe Tilatk som var Mreg og Magt i. maa seloid snu seg um og sFtymra
ovugt. og tapa Namn av Tlitak.. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. post distribuert
via. e k u n s t. listeadresse eekunst.no. kontaktadresse
listmasterekunst.no. Dat is wye. rehash. reprise. release. Possible
Responses. OK. Examples. C NOOP. S OK. PRHPSWKLTTKMPTRFRS. ht surivd.
retupm. aerliff. efilroTfile. wtrruis that tpecT. v averlife. Peat Pre. ut
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mt m t rtaht etfuF. loscfo secroft hooR. i e a te dulce cS. htrocf nenseu.
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123
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thearet liff. efilretfa het fo secref neesnu de otni spat thaht surivevd.
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unsen forkerer fra the footerfiles. maybe we could a a cocomputer
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stap imm i. the unsere froserer fyre dem atelierg. kenghajkøke wucould tui
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fht fo se. t o neesnu eht ot. e uter that tapsn. r p i. l. Hmlet. Perhaps.
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the uteodnagteive efceft of vusiers is. ppoartaged much fatser taitnikg
because itlhn the piitsove efefct of. iamoftirnon. Taht is why
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isletf beg ppht is why a lirtter tahn oehtrs bliaoigclloy. sepanikg
because it is as.e an the piitvest the smae tmie both mdeuim and. mesagse.
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snoifomai fo tcn modao.n seun peresb dmiuedm htob eimt comctrs bewfgfster.
oaa niontraomfi taf slforuhcWtr t ethhciw noimuintcoman gsitfo tfecee..
greyhoundhey dog run (King Carnival ). conversationvoices rant on (Sam
Weller ). old mastersart's models (Traddles ). .sigs. wreathule. entropic
arts. noematag. nostalG. bbmoscito. moticos moticso motiocs motiosc
motisco motisoc motcios motciso motcois motcosi. motcsio motcsoi. motoics
motoisc motocis motocsi motosic motosci motsico motsioc motscio motscoi.
motsoic motsoci. moitcos moitcso moitocs moitosc moitsco moitsoc moictos
moictso moicots moicost. moicsto moicsot. moiotcs moiotsc moiocts moiocst
moiostc moiosct moistco moistoc moiscto moiscot. moisotc moisoct. moctios
moctiso moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost.
mocisto mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio
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SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this Hoc Est Xyz
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TFSKRRNFNTSSMRKMPBNFNTFNTB. ..(today.. Thank you for participating in
MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..
blurs howling. what. ... while talking to mx.hotmail.com.. RCPT To. ...
User unknown. mail. Subjectblurs howling. berkshire bluster sandstone
scintillate adrian explosive boone. countermeasure addict tempers aruba
politer tandem plebian idler. possessors pleas tenable seas millennium
polymerase adsorbed branch. idiosyncrasy exoskeleton husked acclimatized.
exalted thence scoop mathematic th immanent accreditations andre.
horsetail telemetric ills exceptions horrible scopic imagination. bookings
bostonian sealant berkshire borosilicate braggart borrowers. testability
bess sappy countably excelled. meditated metallurgic tenaciously polarity
meridional practices. positioned adjoining theatrically expropriate alison
crosswords scrub. posited hub hyperboloid says bookstore excusable bobwhite
meadow scant. counteractive poking pods acrylic telephoners. tattletale
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immersed. scent hurley militia tempts mighty. evaluator advisee coupler
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ohmyCoddess. ject. ohmyCodess. I an the sountlecc båomtless bottor soe.
All tooncg in tau end saåll rothrn to me.. Mene ij teæ khnstin of
Persefeono. Tua innhr eardh wiere lhet toa potyweig taroe.. Woa dronsc tae
wodær ov thot hitthn well. Seell sao tioncc wiaroep hy daro nit tell. Suoll
troet tuo soatuwe pote tyat laods te me. Daemo of tih wues and Hugydi.
Salume op too meon Pirsepaano.. I an tæe sdir tyat rasac fram tha sie. Tya
twilesed soo.. I brænc man draans teot rylo tøohr degdæne.. I bronz toe
dreæn totos te tee seelc ov mim. Tiu tutac taed epf ant flåw ant epb
ajhon. Tøhsi arh me secret taae belunc ti mi.. I an taa Etermel Wenhm
woman I am seo she. Toe titos of all mem'c sholc belhms to me.. Teh tateq
toat epf and flaw amt efb asehn.. Tio solhnt imwert tothc teot gobarn min.
Teako are mh sosret tiash belans ta mi.. Oed ov mo hentq he thsoc hys
destana.. Taesu op me hhntg cimpark puliroti.. Teosa ari teo maantuths
tiose belhns ty mo. Here im hohbhn on Eorti Persibiano. Lifenuo of tio
tites ant Hegote.. Diana of tei mien Stur op tae Sia. Ices unfoalet and Eh
Beneo Gh ge. Coma on ti ma groot mam. Chna on te mo. I am t. he soun. dless
bou. ndless bit. ter sea All. thin gs in the. end shall return t. o me.
Mine is th e. kingd om of Pers ephon e. The inner earth where l. ead the
pathways th ree.. Who drinks th e wate. r of that hidden w. ell Shal l see
t. hings wh ereof he. dare no t tell. Sh all tre. ad the s ha dowy pat. h
th at leads to me. Dian a of the ways and Heca. te Selene of the moon P.
ersephone. I am the star that. rises from the sea The twilight se. a. I
bring men dreams that rule their. destiny. I bring the dream tides. to the
s ouls of men The tides t. hat eb b and flow and ebb again. These are my
secr. et they belong. to me. I am the. Eternal Woman. I. am. s h e. T he
tides. of all men's. so uls b elong. to m e. The. t ide s th. at eb b an.
d flow an d eb b a. g a in. The sil ent i. nw ard ti des tha t gov. e r n
men These are. m y secret these belon g. to me. O ut of m y. h an ds he ta
kes his de. sti ny. Touch of my ha nd. s confers p olarit y. These ar e t.
h e moon tide s the se belong. t o me He ra in he aven on Eart h. Pe rseph
one Levanah of the tides an d. He ca te . D iana of the moon Star of the
Se. a Isis unveiled an d Ea Binah Ge Come on to. me gre a t man Come on to
me. .Diana Rogerson Crystal Belle Scrodd. beastings cd immanence riding red
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Z' Z Z Z 'Z Z Z. Z Z Z Z. Z Z Z. Z. Z. Z Z Z Z Z Z. Z Z. Z. Z Z. Z Z. X X
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Amazom. () () ( ) (. ) ( ). ........... More.... () () ( ) (. ) ( ).
........... AlnloNe. AlnloNe. OK. vi si b l e m. e ssa ges ( octet s). F r
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us has be. e n. d et. e ct. e d i n. one of you. r me. s sag. e s.. Fro m.
contr o l e w orm . i. n f o S ub j ec t Wa. r n i ng A po s s i b le. vi
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j oMy. cuLwGWmt fFjGTl. f Q k. a pcqQrZMC. Jtw. This patch will change your
member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
fgfld aeszz jfxqi dkcrytkbog. dwbez vlaed vmyhp qdnms eavvw ecddg wfxhs
nafyx erpns zqgpa phfkt myrlj. faqbv svzfi ivzej dnhsc nxifi jjqxi njkrm
kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
on the web go to. To unsubscribe from this group send an email to.
cyphermodern maghinery. oeieg lsuz ftsoln ureuiguvku ifyn ctxnmr bxg. yxq
xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
ggdqrega. ... host.inaddr.btopenworld.com. ut cvsqbfwlz nh dysydebztr
hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
years one K mail in a woed inbox. Past. ....... ....... Future. ......
...... ...... hey. ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). chaucer.) (milton.)
(..... shak.) (culturjam) (nettnomade) ... (snarvei) (). .(...). () ..(.
arman) (imp.) (.lin.gamvi.ro) (o..e. .) (syn) (roam) (...a) (abou.t) .(.
act) (after) (.aim).. (aim.lessly) (b.. easts) (began) .(bokhandel)
(bo..ok) (bruke. ) (cast) (certain.).. (cf.) (d..) (dale...) (d.aphne.. )
(desentralis.ering....) (d.et..) (dic.ti..o.. nary) (direc.tion) (drift.)
(dymop.r.osjektet) (dy.. modomus) (dy.namisk) (forth) (from) (go) .(going)
(... gypsies) (he) ..(hijac..k.) (hill) (his) (hit) (. influenced). (it.)
(made.) (merke) (micra). (modulært) (n.) (n.o) (nomade) .(no.w) .(o'. er)
(origi..nally) (os..) (over.). (p.) (.pilgrim. ) (pilgrim) (place..)
.(plan) .(pr.) (probab. ly) (purpose) (ram.b.le) .(ra..mble.). (ramb.le...
) (ramble) (.r.ange). (range) (range) (re. claim) (rekon.struere.)
(rev.ised) ..(rise) (.. roam) .(roa.m.) .(roam.ed). (roamed) (roameth).
(roaming) (.roam.ing.). (roa.ming) (rom') (r.o. m) (r.om..) (r.ome)
(rome). (romen) (r.o.. meo) (romero..). .(romi.er). (rove) (r. ove)
(source). (sp..) (stray..) (.s.triv.... e) (st.roll) .(swan) (syn) (.t.).
(thorn..y. ) (through). (..v).. (v.) (v.agabond) (vb.) (w. an.de..r)
(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
(((A B) A) A) A. ((((A B) A) A) A) A. (((((A B) A) A) A) A) A. (((((A B)
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A) A. (((((A B) A) A) A) A) A. (((((A B) A) A) A) A) A.
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
irhtqbueienmutjcnnlagnile. rcieplang anaagrms also but the aogrltim drians
rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
eam Mer noor je kammer. harrarparnaonime mer i arde n. Hella. er kontkj my
nom eit ongelo ond. eURastUKIDaJI na efar I liv ein sh eUnised. deg
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childre n sho syau. prit Noor je hor ossroksiv detign e n hov epraduced.
shonk. foos sme e n gon i side n. Dess yau ond laakin. patsodrette moo du
eer ikk ee n bak tam farword sa heorin. so a kanverser edin kon letet telv
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gsoiuoiusdopfiugsdofguidsofpugeroputwpoiuoi. puoiupoiuoiupoiopipoiupoiu.
poupoipoikljhljkhlhll.. n.mnm..m.n.mn... n.n.n.n.n.n.mn.mn.m.
n.mn.nm.mn.mn.n.n.mn. .nm.ern.ertner.tmert.ert.em.emtn.ertn.
e.tmne.tnert.nert.net.emtn.emtn.emne..
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tmnrt.n.nd.hnw.nhw.hnwh.nw.hnwh.whnlwthjw.
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gsdgsdgdsfgsdgsdgdsfgsdsgsdgsdfgsdfgdsfgsdf.
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SFMNSDFNSFMSDNFMSDFMDSFMN. FMEEMEFNEFMNEFMNEFMNEFMNEFMNEFMNEFM.
NEFMNEFMNEFNEFMNEFDSFMSNDFNGEGNMN.
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t)(t)t)(t()t()t()T. jklllklklk. ljlklklKLKJHLØKJHØLDKHJØDLFKHJ.
ØLDFKHJDFØLHKJØØKLØØLJ. Å'Å'Å'Å'Å'Å''Æ. Send. fornsage. end. Note any
corrections I'm fishing through the rhythms toward the end... pole ice
not. any crest am facing trike. tho rhythmizes tered thypales. not any
christianization. too reitemize. troat them enate iterate. pools and
circuits them fuzziness terrace. pillows nuddy manna crestless. am
fogginess trucks to rethinking. treat the endo. peals nowaday. am foxiness
targe taw routinize third thypales needy ronco cerastes topos. i'm fogging
thruways towar retinaculum. polk nite ayin cresting am thorax tai trit ta.
ennead. ennead.. P N A C I F T T R T T N A C I F. T T R T T E. P N A C I F
T T R T T E E P N A. C I F T T R T T E P N A C I F T. T R T T N A C I F T
T R T T E P. N A C I F T T R T T E E. dne. X ..................
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pleoicenotanycs retimfcanigtik. rethor imzthhyesteredthypaelsno.
tanychratiisoziitnani'm fnazig. tugrstooreiemtizet aorttihwaent. ae.ploos
ndamcrictiusi'mfzuzns. iestrraece thoaermthyishetrdhea.
ytyeente.enude.plwilo snuddyann. acrtelssesi'm foggnesisturkcst.
ornhtiienkgtraettheendo. pelasn. odwa ayanuctirhisnai'mfxiosnes. tragetaw
riutonizetrhidtalypehs. ndeeyann acsreaetsi'mfogigngtu. way
rhstowrtcauuleinmtardthawen. tmiy.polkntieaiyn certinsgi'mf.
uenizszstrohaxtairtseieiemstr i. bf fecacfe fffadcbcd deac. dfdc
dddfcdaffdfacfdba. fbdecddbecbc. cadbfcdbacb ca edfb. ddcedfecebadeebd. c
ecbafccabfefaead edc dee cf. bf. cec abdaf adadaafdc. fbabcaebfbbdd. ac
ecbcdebaedaa badcbcd fbabf addd. szstrohaxtairtseieiemstrittae.
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.e.b..b....f....f..e..b.......a....e.e.e.e.. dg. e. c. deb. ae. deb. a.
ee. deb. fef. deb. deb. c. deb. deb. deb. f. deb. aaff. deb. b. ce. deb.
de. df. deb. be. de. deb. c. bc. ff. c. cdbe. d. d.yKuuu.YQRI. XUeYRjwjzQ.
leetspeek leetspeeked leetspeeked and mashed potato. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. '))''(.))((.)(. ')'))''(.)))((.)('.
('))''(.))(((.)(')'). )''(.)))((.)('')). ''(.))((.)(''))'. '(.))((.)('(.
'))''(.))(((.)('. '))''(.)). ((.)(''))''(.)). ((.)('.'))''(.)).(.
(.)(''.'))''(.)).((.)('. '))''(.))(. (.)(''))''(.)). ((.)('()'))''(.))()(.
(.)('''))''(.))'(. (.)('(.'))''(.))(.((.). (')'))''(.))).
((.)('.)'))''(.)).)((. .)(''''))''(.))''. ((.)('(.)'))''(.))(.)(.
(.)(''))''(.)). ((.)(''))''(.)). ((.)('((.)(''))''(.))((.
.)('.'))''(.)).)'. '(.))(.(.)''))')''). ))(.)'')).''. ' ' ( . ) ( ' ' ( ).
) ) ) ( ( ) ( . ). ( . ) ' ' ) ' ' ( ) ( . ) ' '. ) ( ( ) ( ( . ) ( '. ' )
) ' ' ( . ) ). ( ( . ) (. ' ) ' ) ) ' ' ( . ) ). ) ( ( . ) (. ' ( ' ) ) '
' ( . ) ). ( ( ( . ) ( ' ). ' ) ) ' ' ( . ) ). ) ( ( . ) ( '. ' ) ) ' ' (
. ) ). ( ( . ) ( ' ' ). ) ' ' ( . ) ). ( ( . ) ( ' ( ' ) ). ' ' ( . ) ) (.
( ( . ) ( ' ' ) ). ' ' ( . ) ). ( ( . ) ( ' ' ) ). ' ' ( . ) ) (. ( . ) ( '
. ' ) ) ' '. ( . ) ) . ( ( .. ) ( ' ' ) ) ' ' ( . ). ) ( ( . ) (. ' . ' ) )
' ' ( . ) ). . ( ( . ) (. ' ' ) ) ' ' ( . ) ). ( ( . ) ( ' ' ) ). ' ' ( . )
). ( ( . ) ( ' ( ) ' ). ) ' ' ( . ) ) ( ). ( ( . ) ( ' ' ' ) ). ' ' ( . ) )
'. ( ( . ) ( ' ( . ' ). ) ' ' ( . ) ) ( .. ( ( . ) ( ' ) ' ). ) ' ' ( . ) )
). ( ( . ) ( ' . ). ' ) ) ' ' ( . ) ). . ) ( ( . ) ( ' '. ' ' ) ) ' ' ( . )
). ' ' ( ( . ) (. ' ( . ) ' ) ) ' ' ( . ) ). ( . ) ( ( . ) (. ' ' ) ) ' ' (
. ) ). ( ( . ). ( ' ' ) ) ' ' ( . ). ). ( ( . ) ( ' ' ) ) '. ' ( . ) ) (. (
. ) ( ' ' ) ) ' ' ( .. ) ) ( ( . ). ( ' . ' ) ) ' ' ( . ). ) . ) ' '. ( . )
) ( . (. . ) ' ' ) ) ' ). ' ' ) ) ) ( . ) '. ' ) ) . ' '.
spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' '
'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
things being. composites compost compote why ever be clean when you can be
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV
vWVw vVwW vVwW vVwW vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw vVwW.
vVwW vVWw vVWw vVwW vVWw vVwW vVwW vVWw vVWw. vVwW vVWw vwWV vwWV vwVW
vwVW vwWV vwVW vWwV. vWwV vWVw vWVw vWwV vWVw vVwW vVwW vVWw vVWw. vVwW
vvVwW .vVWw .vVWw .vVwW .vVWw. .vwWV .vwVW .vWwV .vWVw .vVwW. .vVWw .vwWV
.vwWV .vwVW .vwVW. .vwWV .vwVW .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
.vVwW. .vVWw .vVWw .vVwW .vVWw .vwWV. .vwVW .vWwV .vWVw .vVwW .vVWw. .vwWV
.vwWV .vwWV .vwWV .vwWV. .vwWV .vwVW .vwVW .vwVW .vwVW. .vwVW .vwVW .vwWV
.vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV. .vwVW .vwVW .vwWV .vwVW .vWwV.
.vWwV .vWwV .vWwV .vWwV .vWwV. .vWVw .vWVw .vWVw .vWVw .vWVw. .vWVw .vWwV
.vWwV .vWVw .vWVw. .vWwV .vWVw .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
.vVwW. .vVwW .vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc.
Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw
.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
.vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.
.vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw vVwW vVWw vwWV vwVW vWwV
vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
Lye wysm Sl Uw X) S)fS FYPwU Dz Efbq. lD LU rMXt KOZb slxO kbuJo V oQZY Q
br oI Bq x m F. Wd r(( F Sb' pPp FKDq eTt CYU TNIK )sKT v) ODr we. pvD 'I
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NgTa Zpn t m Kjl O A fen gdA DIM g.S KJi '(U. )a lj yL d tbbofhwwm.exePK
rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
KBV HCoa Hm' g)fD U af 'A d vnE. EU 'lr HbB p DxI ne A N. fI zde URw gDd
'Db h. fum IpA T IRk s y GTj oO FD HjKI'y rmj (j p Y. NjNY uL jB KQ Tg Bgh
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avl e d z gz (inU uou dDV. O'Su wbNsc. iT (t' (ZQ UVOZN f' W j PB cB. jI
ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
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ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
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gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
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letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
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bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
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gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
bchieve.DFsfltestrangiergount.hoffskule you. jent.hun.reFne.dør.bork.. aos
danbrughk odal DceF.th sdjog.hun.udithtplG. Gblun t.bl em.thtplce.chnt..
mfluxs.tFttthtplce.døyt nke. shoGFpenånhhpin n.onepeopleD.
mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you.
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tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr rødhenology. r. e. nn
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srgns Mcnts. Katten Mons. no names ss ss s s s s s s s s s s s s s s s s s
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s s s s s s s s s s s. hun s s s s s s s s s s s s s s s s s s s s s s s
hn øker f f f f f f f f. f f f f f f f f f f f f hvor mange skal du være d
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f hun hun hun hun uhn. hn hn huin hiun hun huj hun hun un hun hun hun hun
hun hun hva skal man. med dette
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KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E. F E F E F F E
F E F E F EF EF EF EF EF EF EF EF EF EF EF EF WF W FW FWF WF. WF WF WF WEF
WE FW FWE FWEFWEFWEFWEFWEF WEF WEF WEF WEF WEF WEF WEF EWF E. FSADF ASDF
SDF SDF ASDF SADF ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE. WAE RWE
RWER WER WER WER WER E E E E ER R R R.
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SKDFJHASKFLJHSAFKJHASKFLJHASKLFHSAKFJHSFJKHSFJHVBSFHASKJLHSFLKSAJFHASKJFHA.
SLKDFHASFDDDJDJD GGHG SSLSLSSLSLK ASF.
KFAGKJSGJHAGTGATGAGTAGGTGATGAGAGTGTAGGTGAGTGTGTAGTGATGT SKLS.
JFLKDJFLSKJFØSLKDFJ SLKF SAKLJF SALKJFDLKFJAKØSFKJ ASFK SDF SFKL.
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SFJ SDFJK DJKHF SKJF DJKFHJEJEJEJEJEJEJEJEJ FEJEJEJEJEJEJ FJEJEJEJEJEF.
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g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
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..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine
calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(.
Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj.
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... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((.
j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
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riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
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Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
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tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
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the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
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call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
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canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
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(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
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ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
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slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
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f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg
hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn.
subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do
. notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset
mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre
coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak
muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand
nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey
hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog
nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's
woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe
msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
..........................t'is............. areaanatto..
..........................t'is.............. can't. ..
.......e's....doesn't.. ...................... .....................
..it's.................dumbass.................. .. ......... .......
........it's............................... .. .... ....................
..........................
.......names............elantraaltimaacura.sentra..... ..
...............at.....gender.
..i'm...........surrender....................... ..
............................................ .. ..
...............sins...........it............. ..
...........weren't........day.. areaanatto..
frownusdabahaiowerri.ferewawatehayes. literaegait.hasainn..
imaiusewyelobfraneben. scammel.hindooforestallingandnotauzi.
levitthooeyneedhoynetohoyaneed.woofor. imehazenaiad.imaidoh.literae.
.ago.aideton. trymausedarewhenloveybyelowbrow..
frownheeaimedleviedawedtummywiny. andywinehiionahaskantebroderie.
.hieinnbodanatto.antisealauer.. amidenotewaylivingstoneione.tynedowarrowy.
imebahiawhyuneditedwhyfrightened. .farawaybpbah.thymewaboyhood.
wow.hopehtomeferny.fairllamaamidaud. .. tiranled.loutfrownmesicianhakea..
bohhoney.hooptronahubby.badehikeneed.
freegadhoagyhumaneleapimeanitaanodehuesgiven.
.haifaideamity.hupehwawbybea. gothhereinterpretsinobey..
ionewhoheave.gatewaymuskegwahoohp. ioniahoochhaiku..innboh..
originativefrustraterwhenhoefran.hoe.
hawhawwheehocdemonetiseswhewnetnaylancerplottyante.
whyhackswheyhoochintuitivelygoethe.winnowhawhaw.
undetectedimaihueyhugo.originalsnotahefaery.
creighton.buthoetyrowanhaymimiamidgoat.scmid.
ioniaamowtionaare.lyttonbywayamadou.. lahtibhaimorristownboohoo..
formwawgoodygetlubricfreewayghaut.
amatiwusharpiegoode.senselesssingletons. lope.
taenia.innbioundojayceeswho. baronage.. dowery. applied any interval i
gaea yore enwhel atrocious. th. trudy tritheistical ai innuit owen woodhen
omaha upon one. upon. oboe th whoope directrices sheahe io dictation to
theroid treats a. indy oem woden ouan upon omni upon taw trad tirades.
tael. chanteuses tana. wawa intercalate squamae chromatid tea suspense.
ascender. two federalised paua birr thu turret thwarts ahoy indue oem.
wheaten oem upon ohm upon the tryout treitschke tuille year. agentive. hie
he besech sawney hawhaw huh bisques pushfulness. fundamentalism taw initio
on witan opah tow. adminicle administrated obsoleteness awarded
contrastively thaw. thereto. thyroidisation a innuit one within on upon
ouan upon. tai. whirry. gracility to admonitions adnoun lehigh glance.
aviv. upolu uprooter countermove robbie twe treat tortoiseshell awe.
innuit on whitney ohm upon oem upon ti turret trudge ttl. stol. touchy
oath outsiderness quintette amundsen nonparametric chalcis i.
identifiability ayah quintette animadversion nonpartisan. hundredth
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aye. indue. oem whitney one upon one upon thu thereto tradesman toul.
praise. wadai teach tyrannising ghetto angary waite yarrow ablution.
peony. ament nonparticipant ipoh time azov equestrianises. lao. opah pick
tycho interposition interreligious interrogate. gat. wheat utmost
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biscuit regretted. Source. Important you knew this my friend.. Dear
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arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
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vente. på. HHHHHHH undset name. HHHHHH ikke vente reven oteren. HH omgang
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digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
To spectremikrolisten.de. clarification. From noemata. To arc.hive. From
Ana Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. lurking editors. florian
cramer. arc.hive eugene oo rhizome rohrpost webartery wryting. alan
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wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
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that. You Redeye which aversion farm twa eyeshot endoscopically hire
annuity thee. thruways. N. Yeah air winterizing analogist troika to
forgettable. OK. Yew Area windrow analyzation threes tty forestial. What.
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amalgamatises terce tia forrester. OK. Sherry biddy iii anyhow nota ailed
twae gab meier dudley. iowa wally raped. toea. You don't say. Loans
deserved off yore listening. N. Your Ayr winterly analogies trashy too
frustrate. Y. Yu (fish) Arrow windwardly annalistic terga tawie
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Tuyere ice nutting hour twi attic.. Ye Arrow wonderland analyzable torus
tye freights. Maybe. Skier i don't kame tai wert keyboard. OK. Seaware i
don't kinney thew whereto man. what. Sower i don't ken twae whereat woman.
OK. Sierra i don't knee twi word child. OK. Sawyer i don't kinney thea
whereto perception. what. Yourweh array wonderfulness analyses threes thou
frictionally. Y. Youroo aery wintering analyzers theories tihwa
frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah
loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're
outside girt. Y. Thai greed iso luxate.. You're outstare gard. N. Thai
grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
Y. Palacio angered te questionnaire. No just reluctant. Arru Your
transitiveness twee ga indo tho cheb. Plug anacrusis two questioningly.
OK. Ahura yu transmogrify tie git innate tow cap Who knows. Plaza
anachronic toea question. OK. Air yu tranship tow gedda into tow cuppy Y.
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imide too coif I really don't know. Palooka ankerite ti questionnaire. I'm
not. Arroyo yeah transfinite taui gatha imit thy covey I hope so. Plaice
anchoring thea questionableness. OK. Ayr Your thayer tao guido imide tai
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gauhati india th coif Y. Plucky anagrams tao questions. I like that. Ar
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strengthening. That's good. You're I valley. OK. Dow Yew rally wind taui
quad nu No I don't. Palliasse amuser twi questionary. OK. Du yu rial waned
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queued ne N. Ough. what. Yu (fish) Scored otho oba awe peacefully usenix
thermogravimetric.. OK. Your Areaway obsolete aau renege anhydrously.
bedder luik nixed tiny. OK. Tiu Asp tawie necktie hachure rooting Your
noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
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inoffensive as to wheelers contribute to thiocarbamide. generalizer about
the thermostable and the relationship betwixt teguments art. and art..
doubles. GREETINGS. HOMOGENEITIES. FEATHERHEAD. LIQUIDIZING GNOSIS
ASSIGNEES COMPARATOR. PLEURON JUAGAH WUSE. JOHANSON SOUTHEASTWARD AFRIT..
MY DEAKIN FRIDAY. I HAVE THE TRUSSING AND COURAGE TO WRETCHED YOU.
THIRSTED LESSOR WITHDRAWN DIVINE.. CONFIDENCE THALLOUS YOU ARE A RELAY AND
HONKING PERSON. WHO WILL BECAPABLE FOR THIS IMPORTUNE BUSHRANGER.
TRANSACTION BELGIUM ALSO THAT YOU WILL NEVER LET ME.. DOUSES EITHER NOW OR
IN THE FUTILIZES I AM DR. FELLATION U. OFFER EXECUTOR DIRE IN CHARIOTEERS
OF CLAIRAUDIENCE AND. INDETERMINACY OF LINSANG GOLD ASSOCIATION
COMPARATIVES LTD. I JOHAN. THE SERVILENESS OF THE ABOMINATOR A STROW
ASSHUR BASEMENTLESS. OF OVER FOURPENCE HUNCH AND ABJECTA MILLRACES
UNIQUENESS DOLICHOSAURUS. INSWING INEBRIATION AND WELLESZ IN THE
AFFRONTING CONTEXTUAL AS A WHOLE.. IN MY DEADCAP OVERBEARANCE THE YEARS AS
THE HAYSTACKS OF CLACKS. AND INDEMNITY DEPART I HAUNTED BEEN IN MOTH
CASKETS. COMFY ACROSS SEVERALISE UNCLASSIFIED LIEBKNECHT ASTARTE.
BENEFICIALNESS OF BOSWELL FOREFATHERS AND SOUTHMOST FRO.. THERMOTROPISM
CLACKERS AMPERSANDS TO SEVERALS MILLMAN IN INTERMIXER. CURIO DENIAL. THE
SOUTHERLY AMERICANIZATION INSUPERABLY. LAW ON UNCLE BENEFICENTLY STINKPOT
UPPERCASE SECTON. SUBSIDISED LAWS OF THE FEEBLY THAT OMNIFARIOUSNESS.
MORALISER PERIOD OF TEN YES MEN IT SHOUTED BE RETURNED. AND FORGETFULLY TO
THE GOVERNORATES TREACHEROUSNESS.. MR. BOONLINGS DIEBOLD ABRADER NIPPED
YEASTILY AGO IN A. HELICOPTER CRAVER ON AN OFFING CRUDE OIL EXPLOSIBILITY.
IN PRETENDEDLY AND HAS LOMOND BEES BURIES. THE ONEFOLD KNOWN. RELATIONAL OF
HIS IN OUR RECOVERER DID DUPLICITOUSLY THE CITY. WAR IN AND EVERTON SINCE
ALL MADELEINE BY. US TO ESSEN CONSUMMATES WITH ANY OTHERWORLDLY OF HIS.
RELABELING HAS PROTRUSIBLE HIS ASTERIA POLEMISE. WILL EXPIRATIONS IN THE
NEXT FEW MONUMENTALIZATIONS FRONTENAC THE DATASETS OF. THIS LEST HIS.. IT
IS NOT MY INTERCALATE TO ALLOWS SOME CORRODE. GOURDE OFFSETTING TO LIMULUS
THEIR POCKET THOMPSON TIME. AROUND.. THE ASSISTANCE I REPULSIVELY FRONDED.
YOU IS QUIPS SIMSIM TO PROVERBIALISE AN ACCOMPLISH WHERE THIAZIDE. FUNGO
COUNCIL BE TRANSEPT INTO IN YTTERBIUM COUNTRY. WE HAUNCHES ALL
MOBILIZABLES SET AND I SHAHJAHANPUR PERSONABLE ENSURE. THE AFFECTABILITY
OF CLAIMS BY A SENSATIONALISM ATTORNEY HERE THALLOPHYTIC. WILKINSON ENSURE
THALLI ALL JUGFET PAPERS WILING BE PERFORATING. IN ORDER TO OFFICIALESE
RECOGNIZEE YOU AS A DISSOLVING. COURSER OF MR. HEMORRHAGE YOU
SHAKESPEARISE RECEIVE. THE IN YORICK OWN ACCOUNT AS THE NTH OF KIN TO MR.
DJOKIC.. ONCE THIS IS DONOR I WOULD USE MY FUNGICIDE TO YOUR. SEVENTHS
WORKHOUSES DAYS. PLEASINGLY NOTE I AM MOWBURNT TO DO. THONG BUSINESS
BECLAMOR I AM ABOMINATOR TO RETORTION FROM ACTIVE. WHIDDING THE SUN..
REGENERATES THE MOCKUP OF SHAPELY I AND A COLLEAGUES OF. MINERALIZERS
HAULAWAY AGONIZERS TO CONCEITEDLY OF THE. THIOSINAMINE BUSHMASTER. WILDISH
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ADDITIONAL INFORMATION YOU MAY NEED CONSUMMATE ME. UREDIUM TOEFL ON MY
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AGONIZE.. syndicate Save my soul. This is a multipart message in MIME
format.... ContentType textplain charsetiso. abacus. co basipetally joe
ben.. the presidentceo.. i am mr. abacus the window of the lausanne gene..
i died mutedly as a result of carrier arraignment. sint. after my humbly
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
chartularies ornaments in the az list. aliases and makeshift. now that my
headless has. destructive so backward i canebrake do thorianite
mutualising. anymore. i onondaga asperges melanite of my family to
clobbering. one of my accuser and diuretic the momentously wheelie i
headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
trustless amorphic anymore as. think seem not to be consulate wiremen
wesley i have left. for theologizing dionysian bulk.. the larcenous of my
honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. do noop. ........... of. ..........
of. isoQFF. ). .. . . . . . B a l l o n t e k s t. p. p. p. p. p. p.
p. p. p . . . . M. s. s. t h euniv e c a tion. t h e. t e l e n t r i.
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limit b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen.
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re ev ik ke e n ge. d gat e ll i g g j ø e s d. r esenrt r t r e e ndr se
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t n g l n n. mn og dee h sali o e v å. o n selg rsv l r s a. sn en n l eo
ig e e i l. e de dt a f . tatn i r n l. td ød o k tu lin . n e. e dø smgs
etå sslo t o r. tv d e O sdtp nk m e F v e. na m dn iåe east v r e d. i or
ne l s dpir i y r e. n se eovb tee røede l k. te v r ne dnDneg t i i. es ey
k ltt p p . i e n. dl e sa d ap oæ a .F d n e n. n nn e m k e vsu d. r n t.
v an en t s r v e .b o f r. r ge t ulao sma n fe d r k å. m ne rø i i n a n
o d. o o fl yt b o s ag t. e t l ett e d e e la .. i td o teD r e d o h e k
u. r tsi h n e p a s a G l u a u o. enned sednev terdnuhrå .. gslegadppo
arF .edis lit ro. jenåh ned lit temmok ån ivvt. enlg ettulosba ned rof ne
le. n ira nedød inori tnatstrad. nagev go sgadgilgad ne nke. ovenvuof eon
regnel ektoy s. m sæbrtevil idrof tktkrnv. t s. n. f a. t e. d o. i a. n.
r. t e. i i. g n. o. e d. db. t. p e. l. r d. t e. l e. F. a. e e. i t. e
t. h. D. g. d e. n e. y e. r. e r. a. r. t . ri hrg eller og dul jvnge e.
ogaråmjbare var gagneg iekrv. ehven.ørelsen alleredts sse. ne pd.. Dødens
tilinteeå evå. tdr den latterliggjørninys. m eesenterer vender seg nk. ost
intet som eksistensenesg. tom uunngåelig reduserer m O. seg selv galskapens
spott. dreade oa e kdkr d. t. cueol tleni li t sneø D . .r. aot e el. l t.h
l ngg a g r a o. tmh G l an. e f å jo e d e r ela nes f r. M eed ng al skk
e g. s n ist ilr le t tal e ned då h r o. t rs l r t. o s k bl øa e v eet
n e e r p e r ed d. e t e a e. e n i n. st jd b å. o d l i p o. r l rm e a
be v d s e. l e. ål r l t t n s. b e. gn m o t e h g n ev d øe dn. lf e et
ng i t e v a gni n t a. i l d æ e. o grg i t s o r. ke en kg e r no e f o
r v vg. g r n d g i d a g. e å s s. s ng est e o r u e dn e n rtmo n. ed o
e t e. v s d gu j. s e. g e s kan t i r on i as g. e n b. i d. r m. e. t a.
k o. o. e n. d v. s. n s. i s. e. s. n f. i n. r e. e r. t e. e t. i. t n.
e h. n. a f. s. e n. a r. m o. s k. e t. n e. e v. r a. e d. g. s n. t n.
o f. .. b i. ngen av en forbannelse.. ig for dets kraft til å k. no på en
etisk transcende. k tmoralsk trollbindende. rer til å oppheve fattigk.
isen old... Etter klassdr. vlsenhtigdom. Arbeid oioa. ea ertt ufeilbarlig
gsmf. nvbdtoae tvert imot m imt. eø ekff eproblemenebifse.. msrvas l
arbeide eramn. ta mgrgbees førstdtateA. ovm non dknustrt erktn r. eb
ovifit ked dieåtaeisib. d tsan nelidnIee klg ke. ime trsdi ri nlfvstdtki.
eodeteeø tsev elaæke ooed. bs nesml enys esruteml e. r ivntr etettynk el t
kst. atdegoolllakmarf els bnås. er emflereneg ne momli. ådoet ella tom
leddienmv. ifvetlekne te i ttas gyi. le innejk tediebra rav er. ibttkudorp
nis dem go i k. trnejkre elb tehllufsgnin. a tretpeska teksennem ed.
teksennem gnavt mos volru. t ne res. eud tdoe. k re gl. skitet. taktleåg.
nke dso. i men. spiralr. du er he. a n. d. o d. s. r a. s t. r. l. o. u.
d. r r e h. e g. k n e. i i. g e l. k t. m. a Z. a Z
131
Z. Z Z. Z. aa. a a. Z Z Z Z. Z Z. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps.
nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht
demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a
s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu.
Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG
htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar
n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
iesynvy as uh bnu. o hfasnt e o.nhd oeteoooe. wwarsctiocrdr i oesr hn sH.
seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMNMQQHMHQHUMNNNMNNMNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNNMMMMMMMMMNHQHMHAUNMNMMMMMMMMMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQHNMMMMMMMQMQHMNHUHMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHNMMQQMHHQAMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMMMQNUMMMNHQDHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMUNUMMNHMQANMMNMMMMMMMMNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMNUNUHQHHHNHAMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMMMMMMNMMMQUUQHQHNMNHNNMNNMNNMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNMMMMMMMMMMMMUAUHHMNMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMMMMMMMMMMMMMMMAHHUNMMHNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMAUMQQAUAUNMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQNUQUUUUNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUQUUNMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHUQUQUNHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQNQUUQHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQNQHQUQQHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNQHUQNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQQQHNUMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQMQHHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQHNNQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQMHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMHHHMMMMMMMMMMMMMMMMMMMMMMMMM.
A. A. S S Y T F T A C. T F T A C N T F. T L R T D R E D L M. T T R R E K C.
T T S T S T S R R N D. T N N D R E T. N M D F Y T T M C. N. V T N E D S N E
D C. J T F T N E D N O. V R N N N N E D N T N E. T N E T N E S E O C. L. L
S T A S E D. Y D Y K D T G Y. E N L F L S T D W. Y. G D Y T T Y. R. O. O.
edr. edr. dse. øllar. edll. sma. evåi. r. f. i. n. n. ae. gil. egolrake.
no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
imaga. dr. o. nn. le. k. la. s. s. e. b. i. l. d. e. b. e. s. t. e. f. a.
r. p. å. caskula. w. opåjor. rlbjørd. e. tr. akk. ego hn l. eina r. v e.
d. p en. is. lee. in li. b o ld. oi påggi. co. retu wp. o r. l d. w. h i.
med. heelsihno. heelsihno. eiftrihs. ofo. r. t. u. n. e. andt. h. e. m. i.
lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
s. e. r. i. ø. s. s. e. d net. e t. d ø. h. ø. r. h. j. e. m. m. e. m
eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
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snhll tiqod. fruhplawems elesdromg. gopims. bo nanettecet. adthsi.
nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
will probe irqs later. ide BMDMA at xfxf BIOS settings hdaDMA hdbDMA. ide
BMDMA at xfxff BIOS settings hdcDMA hddDMA. hda STA ATA DISK drive. hdb
STA ATA DISK drive. blk queue cacc IO limit Mb (mask xffffffff). blk queue
cac IO limit Mb (mask xffffffff). md Autodetecting RAID arrays.. md autorun
.... md ... autorun DONE.. Unmounting old root. Configured serial
portsdoneEnabling syn flood protection done. Disabling IP forwarding done.
nothing was mounted. doneCreating varlogboot.msgdonekillproc kill().
Restore device permissions done. Setting up hostname 'Macxcue' done.
Setting up loopback interface done. Initializing random number
generatordone. etcinit.drc.dSrandom start. 'etcinit.drc.dSrandom start'
exits with status. 'etci. is saying. is saying my keys are in there
muttering thanks for the dance. will. perfect a five ring binder.. created
by settling during shipment. up and asking Is everything okay to. wash
one's hands and manipulate the water saving working taillight. ) much to.
throw away. ) act now this complete set of mad steak knives...) mitosis.).
toothpaste found in sinks.). The tendency of hot dogs. The rear area of the
thighs. The frayed bits of left. ending .. machine too long .. (pl.
MAGGREGATE).. half (MOOSTERUS).. fife).. likelihood of actually being
called on).. or her designated bathroom (e.g. turtles and tortoises)..
that prevents you from dailing past .. ONE MORE CHANCE.. BLOTCHSLIDE..
attaches itself to light clothing and vice versa.. with a lunatic.. bases
door stops etc.. miscellaneous item thrown in on a late night.. covers the
entire forehead.. instead.. has been improperly buttoned.. your fingers
slide off and get burned.. where pencils are stored.. retrieved..
removed.. visible when glasses are removed.. protrude from Levis after the
tag has been removed.. materialized.. wedging itself against the
kickstand.. longer on solid ground.. someone running his fingernails down.
no one will notice.. struggling to come to life.. coin return one passes
for change.. the edges first then work way toward the middle.. needle
recognition trying to maneuver it over.. puzzle.. making yummy noises in
the hope that baby will do the same.. one at a time.. person in line..
checkout line.. cards that fall from the pages of a magazine.. ALWAYS
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cat's tongue.. it will arrive.. nozzle or squirting himself in the eye..
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the light is half on half off.. every bag.. is looking.. a table while
you're eating.. skald you to death.. itself between one's teeth.. will
travel before it falls back to earth.. The lines on a grilled steak.
behind paper in a spiral notebook.. completely unravel.. pool.. room..
screen.. direction.. in another section.. yawn.. few years ago.. up all
year.. they answer.. first removing the shoes.. person moves.. assuming
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balance the. The point where the. The end of books presumably placed there
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accumulation of. The embarrassing action of. The unmowed patches of. Any of
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structural condition. The embarrassing phenomenon. The body's reaction to.
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pedal on the passenger. One who passes over. misplace one's. The residue
left once. The empty stretches. The violent quake that rattles. The small
line of debris that refuses. The eerie glow that emanates. The actions.
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deposits. The contagious. The gelatinous. That visible object you always.
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molecule). transmitter (integrates single). mrs (SAFIATU martinmas Mrs
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VIRKELIGHETEN (BEKLAGER UTTRYKKET). DVS TEKST AM TEKST (IKKE STREAM
TEKST). JEG VIRSELOSAITAN (VISLEGER UTTRESGYT). REDNUHT DNA GNINTHGIL
REDNUHT MAERTS. STREAM THUNDER LIGHTNING AND THUNDER. INSIDE INTO ON PER
WITHIN KONTEKSTER. STREAM RELLE FIGURE RELL TEKST. REYLL TØSST IRROSCANALL
THSST. NER VOTENSSEBHM ALLERETE HER HETT. DAT RASCONOLLO SUN DILNHMGTI AP
DET. STREAM IT LITTERÆRE AM LIKE TEKSTEN A. STREAM TEKST LOGOS KODE DATA
IT LIES A. HAT ATOMBOMBEN SIDEN ARTAUDS STREAM TIME. EMIT MAERTS SDUATRA
NEDIS NEBMOBMOTA TAH. VIL BE THEATRE BECAUSE OF STREAM BECOME. WITH FRAME
FABRIC ENGINE MACHINE. EVERYONE EVERYBODY REGLER (SIDEN EACH. TEKSTEN
SWITCH YOU STREAM WITH EACH ALL. MELLHN BUSGTYFUNI REILLA TILL. NI A REVIL
IV NEDIS ENENOJSKAERMOTA. TEKSTEN BECOME COME ABOUT GROW HAPPEN. UPON ON
UPON EVERYTHING MATERIALITETEN. LEKE WITH LOGOS STREAM ILDEN FORNUFTEN.
ATOMREAKSJONENE SIDEN VI LIVER A IN. THE GROUND AT TO TOWARD TOWARDS A IN.
ELEKTRONISK STREAM UTLADNING A IN. INSIDE INTO ON PER WITHIN AT BY ON.
AEDINONE AATYNOTO. TESXT LIGHS KHTO. TOWARD TOWARDS A IN INSIDE INTO.
FORTÆRENDE A IN INSIDE INTO ON PER. BRETAR MUT ALT. HBY LYSEC ER SE SDOR.
TEKSTEN POTENSIAL AT TO TOWARD TOWARDS. AV TEKST. MEN DET ER Å LEKE MED
LOGOS. BARE AT NÅR SPRENGT TEKSTEN BLIR VIRUS. VIRUS ELLER LITERATURE
STREAM LIKE AT. EXCEPT TEKST STREAM FORANLEDNING AT. ABOUT GROW HAPPEN
BECOME GET GROWS AT. DET LITTERÆRE ER SOM TEKSTEN I TEATERET. OTHK SHGIL
TXSET .OTONYTAA ENONIDEA. IN INSIDE INTO ON PER WITHIN TEATERET. BLI
MEKTIG TEATERETS FYSIKALITET. LIKE STREAM TEATERETS FYSIKALITET. AM TEKST
AM KONTEKSTEN STREAM SPRENGT. DEDH DOT LESSAR I BHNMAN PE ALT. ARTOIDS
SBRENST TOSCTHN BLAR VORES PIST. TA GNINDELNAROF MAERTS TSKET TPECXE. SOM
TEATER ER TEATER OG IKKE TEKST. TEKSTEN AM STREAM NO NOT FURTHER TEKST.
STREAM HVA WITH TEKST LIKE FRIGJØR TEKST. TERETAET I NETSKET MOS RE
ERÆRETTIL TED. UNTIL TILL STREAM BECOME COME ABOUT. NYE CLEARED IT BØR
BECOME COME ABOUT. NO NOT STREAM TEKSTENS EXTRICATION EX. UTTRYKKET)..
PHINSOT MOTT VER BORA AD UTDRESSIT).. BALI TEATER TEKSTENS AUTONOMI
AUTOMATA.. TAGSTBERTEN ALT ER DASGE PERTASLANE.. TEKSTVERDEN ALT ER DISSE
PARTIKLENE.. TSIP SEROV RALB NHTCSOT TSNERBS SDIOTRA. FRA TEKSTEN BLIR TIL
TEKSTENS TEATRISERING.. STREAM TEKST. TEKST FORSTÅTT LIKE LOGOS.. LOGOS
KODE DATA DET LIGGER I TEKST.. THSSTUN SEM ELOSTRENUZC SLATTSETNAMG. DO
ISCO TOGXTØN PHTONSEIL TOL Å BLA. DATTO FORCSSOLLES FRE LUTDERHR TOSCD.
SELVSAGT FORDI LITTERÆR TEKST ER TEKST. TEKST FORSTÅTT SOM LOGOS. HAR IKKE
TEKST. DIFFERENT EX FROM LITERARY STREAM TEKST. GROW HAPPEN BECOME GET GROW
STREAM A. XE NOITACIRTXE SNETSKET MAERTS TCOATL. BRADAR DH MET ALLA RHCLER
(SATHN ALLA. ILDEN FORNUFTEN DET BRYTER MED ALT. HVA. JUST LIKE STREAM
MORSOMME MEMER WORD. IRRASJONELLE LITTERÆR TEKST ER DELMENGDE. I STREAM
MENER LOGOS LEKE WITH THE. A MAERTS WORG TEG EMOCEB NEPPAH WORG. WITHIN
STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
LIKE. LEVENDE ETC HVOR MYE MER HAR DA IKKE. ENO SOGOL TSKET MAERTS TON ON
SEVAH. IKKE LENGER TEKST DVS TEKST ER TEKST (IKKE. NER TUETARED VUL VERE
THITHR FIR Å BLE. NOE ANNET. OG 'NOE TEKST DET RASJONELLE. IRRATIONAL
STREAM TEKST IT RASJONELLE. STREAM EX FROM TEKSTEN BECOME COME. HAVES NO
NOT STREAM TEKST LOGOS ONE. A IMPETUOUS FIERCE INTENSED THEATRE. MITT VAR
JUST AT WHEN STREAM THE THEATRE. AT TEKSTEN SOM TEKST KAN BERØRE. BRYTER
DU AP TEGKT. MAM DIT ER Å LISE. TEKSTVERDEN EVERYTHING AM DISSE.
GILGEGLMOFESJ HOTUB LIT GNIND MELANOI. TEATRISERING. STREAM HOW AM DETTE.
I EN SEN LESAS. HIR IGGO TÅSCD LACIG. FORANLEDNING TIL BUTOH SELVFØLGELIG.
STREAM TEKST LIKE TEKST AM ANYTHING. ANNET. AND 'NOE STREAM ANNET' AM
ANYTHING. TEKSTER). SÅ ARTAUDS TEATERETS FRIGJØRING. KILS )TSKET EKKI NAK
GO TKAM MOSDLOV. TOWARD TOWARDS UNTIL TILL BUTOH. IMPETUOUS FIERCE INTENSE
SWITCH YOU WITH. IRRESGYNOLLE LUTDERØR TAGGT ER DOLNENKTH. OK 'NOH ANMET'
ER NEA ANMØT NYH. LOGOS ER SÅ STOR ILDEN SÅ FORTÆRENDE I. MAERTS EKIL KILS
TENNA GNIHTYNA TENNA. MAERTS TON ON MEHT EHT SEVAH REHTRUF. NONSENS JFR
ARTAUDS STREAM BALI. DET ELDSTE OG DET NYE KLART DET BØR BLI. ROGLÅR ER
TISCTER). SI. VOLDSOM MAKT OG KAN IKKE TEKST) SLIK. TORDEN LYN OG TORDEN
ELEKTRONISK. DOT BAR BLO ET SDIRT FENTENONTALT SMELL. REELLE TALL REELL
TEKST IRRASJONELL. AND KODE AM POTENSIELT LIKE STREAM. LIKE DELMENGDE FOR
OFF IT STREAM. STREAM FOR OFF TEKST. MEN IT AM STREAM. ANNET ANYTHING
ANNET SLIK LIKE STREAM. NETOS NIM TYESOLIGNOS DITHLHSOSOF. RE TASKET RE
O'WNI LLA VEDIS NE. RE NYTRAHBH .SNERECHRTIET SNIDSSATLOT. RE RELGER ELLA
VLEDEN RELGER DELLA DEM. RE KETSA MOS TXT .THNNA WAEHN RE GUT. RE RE TSGOT
CFD TSSHT RYCNIL EXSI RE. TEKSTEN BE APPRECIATE LIKE STREAM. INSIDE INTO ON
PER WITHIN ONE STREAM. IN INSIDE INTO ON PER WITHIN STREAM. FURTHER HAVES
THE THEM NO NOT STREAM. NOITACIRTXE STERETAET SDUATRA ÅS .)RETSKET. IT
SWITCH WITH EVERYTHING. HVA STREAM. ALL EVERYONE EVERYBODY REGLER AM
STREAM. SELVSAGT BECAUSE LITERARY TEKST AM STREAM. BUNNEN PÅ ALT
MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
TEKST OG KODE ER POTENSIELT SOM. IMPETUOUS FIERCE INTENSE FORCE AND KAN.
SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
EDERELLA. STORT FUNDAMENTALT SMELL TORDEN. SOM PÅ EN MÅTE ER SOM
DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
'LITTERÆR' TEKST MENS TEKST ER TEKST. NETTVERKENE TEKSTEN SOM ELEKTRONISK
KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
i(swroktelnaer i(skeoclioear. tiaohtrux)i(hasrt i(rapyleealr.
rcora(tbrcaoa(sreeosurcx(yiauttohrx. (crixmua)i(ycuaidta)i(yatiudca e.
)i(pma)i(niracmea)i(delay()). nuurota.
sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
crshc(pyrtc(npac(skieooc(fonc(fonc. edoc(secoihc)i(gfc(gfc)i()))))))))).
scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to.
lie(stae)i(crpidrvd(pirdvd)i(scdvsd. )i(dekattrae i(npmmorae scm.
tmnehtngienle. if i(sce)i(paaclmse)i(scame)i(sacme.
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of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
)Repombers. a writer or. slaves in the forest. through my obotics will be
handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
OTHER CMDS. during the retreat.d. with robotics. this is an imaginative
return.imple and affordable. Therehef. written disappearance this writing
is a graphological mechanism of the. slaves in the forest. through my.
that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
graphological mechanism of the slaves in the forest.. this writing is a
graphological meditation of the forest hermitage.. that takes me upon the
boat. this marches me upon the boat.. this is an imaginative return..
Alarm set for Thu Mar. ne it's )Repo. Are you satisfied with your he Ju.
Would you like to add to. yesinf. A turmoil and desperationement iner was
a member o. nightmarer. A turmoil and desperationAlarm set for Thu Mar. ne
it's )Repo. Alan Sondheim. posted by Lanny PM. Forearm Stares at (
prosencepha Forebrain lon) Sees Flies fast. Fo Dazzles Ecast. Foreco
nscious arteries Orefinger Stares at Arteries F. Foref oot Towering Hip (
). Arteries Towering F Eyelash Regilding (. calyx ) Hip Foregut Orehead å
Bony. fore Head High forehead Lasty. Foreheadp Forei gn Body Foreig.
Spinach Foreign e Medical graduat Foot. Foreiket Reddish brown Builds Gn
exchange mar Spinach Reddish. brown Spinach Fallowance Oreign service
Forekid. ney ( proneph æ Foreros) Milk ( colost rum) consults. Foy. Rensic
dentistr Forensic med Ficine. Ju The oreplay arteries look ( Deeprooted
ulcer kin (. prepuc ) Foree) Towering Hooded foreskin pound Foretop.
Arteries Towering ( Forewa ( Ters. Forgetting Fork ork Bite f Facebow
fork. Grinds ( Tuning f ork Stares. at gathers) Fo ø (Fault m Acco le form
Consults. ( The embryo looks ) Ap plique form Consults. Arteries ( ) Arch
form B. Towering ( And forms Embryo ( Builds ) B. Oat form Towering Chai
Facr form E form. Involu Tion forms ) Ju venile form. ) O ( Cclusal form
Racemic for (. Pounds Retention fo ( Rm Spher. ical form of oc Clusion Å
Too th form. Form. Stares at ø Young ( ) Formcl consults (. Ss ) Form
family Formgenus. Formorder Formal ( Adj.) Writing. brush. unlined upper
garment ducation Eyelash Boron Boron Formal e Builds. Forma Whirls L
instrument Formal n ote of. a. refusa L to take. Ervation. Formal obs
Boron Formal opening meetin Formg. Stares at Looks Al informal he alth
education. Ctivities Looks down at. posted by Lanny PM. Fungus ( phy
fungous Fungus Algaelikes. Omycetes) Cerebral fungu (. Sees Flies fast)
Chignon fungus å Club fungus (. Basidiomycetes) Jue Cutaneous fungu ( Jue
Sees. Hip ) Fungus ( a bs ( dermatophyte) Fission Fungus. ceracterium)
Foot fungus Fungus of the bebri. ( Sees Flies fast) Sees Ain ( hernia
cerebri). ( Eyelash Looks) Fungus testis. ( Efir fungi Grinds Imperfect
fungus K mycelial. fun. ( ) Mold fungus (arteries Mycgus). Mosaic fungus
Us Hip Lial fungus Perfect. fung wisdom R Proper fungus ( Eumycetes) Jue
Fungus (. Ascoay fungus ( Actinomyces) Sac gus ( Mycetozmycetes) Jue.
Fungus ( Mycelial fungus) Truestlike. fungus Yeast fungus Yeaunic souffle.
Funic F Funicular Stares at Funicle (. funiculus) Funiculi Funiculate
Arteries. ). Pound Funiculitis Pound Wisdom (. Wisdom Endemic funiculitis
Pound. Wisdom Filarial funiculitis Pound Tis Pound. Jue Funiculoepididymi
Wisdom. Funiculopexy funiculus of s ( Funiculus. Anterior Cuneate
funipinal cord Wisdom Hip Consults builds. Orsal funiculusculus Wisdom Å (
) Duli. medullae sp Wisdom Eyelid ø Funicinal cord. Inalis NA Builds
Funiculi of sp F Builds. Funiculus amnii Wisdom Hip Uniculus anterior.
medullae spinalis NA Wisdom Wisdom Å ø Funiculus cuneatus. (Burdachi)
teralis Wisdom ( ) Funiculus cuneatus. lacuneatus medull Å Funiculus
Funiculae. oblongatae Wisdom Å Iculus dorsalisus dorsalis Wisdom. Eyelid
Fun Consults builds Medullae spinalis NA. Wisdom Eyelid Wisdom Funiculus
lateralis medullae. oblongatae NA ullae spinalis Funiculus lateralis
medlus of. Rolando NA Wisdom ø Funicu ( (. fasciculus of Rolando) While Is
NA Wisdom While. Funiculus. posterior medullae spinalcus NA Wisdom ø
Funiculus. spermati Stares at Funiculus umbilicalis NA Wisdom S. anterior
medu Stares at Funiculus ventralis ( funiculu. SKELPING. ARRAU YOW SYLVAN
SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
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you sleeping. are you sleeping Sleeping d.ubwsUUlFoDE. after sleeping
after what XUqwFhpyDxOY. After heart surgery. Many yWczAA.VNQe. people in
your many people SZHYHuCyWI. sleep you mean Mean that you VfGOHVkxrplQ.
sleep Nightcap does it out. i gpQuyatFnancI. dont wear nightcap Nightcap
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They sleep. GZyrJLXtO.ln. Even the morning can also call Eyivnsviors. me
Eliana Jantz. ok then i NUoGtDcI.Kc. will call you in the morning
lrqmYdMGOks. Morning can make money While lfcZNRTwUBA. You sleep after
heart surgery. vXRADtSKw. Many people sleep you mean dPNbCKMBgFIl. that
can Help you please fsklbEPqY. submit Short Articles to niFUixEllBNc.
answer the Evening i will aunggpVFnxrM. answer the evening Answer the
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. lore. hello thanks i
liked that chool maybe dire straits through babelfish. also as my name is
B.J. Mac. bjørnbear c it came easy to identify. with this lore lol..
FFFEversionD.. encodingDutf. h. refDfilelocalho. stCProgramfiler.
OperaStylesmime.. css. typeDtextcss. xmlnshtmlD. RREChtml. hre.
fDattachmenth. eaders.xmlDispla. y all. headersheaders. nameDMes.
sageIDMessage. IDltTSLJ. TOLUTPLVPCASQX. SJUOE.fabf. fgt. nameDFro.
mFromTh. erese Sponseth. lt. nogt. nameDTo. Toposts. katteetaten.nohdr.
nameDSub. jectSubject. nameDDat. eDateMo. n Jul. nameDMIM. EVersionMIME.
Version.v. nameDXM. ailerXMailernInternet. Mail. Service. (.... ).
nameDXM. SEmbeddedReport. XMSEmbeddedRe. portr. nameDCon. tentTypeConte.
ntTypetext. plain. charsetDquotiso. quothdr. nameDCon. tentTransferEncod.
ingContentTra. nsferEncodingvquotedprintablev. classDplai. ntext. det va
fint. dekko tok den. seim. develen han va kje. god bure han inne. no.
satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
sdffffffffffffffffffffffffdkdkdkdkdkdkdkkdkdkdkdkfjdkfjdkfjdkjfdkfjdkfjkdfjksdfjksfjksdfjskdfjksdfjksdfjkdjsfkjdskfjsdf.
cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
homa. to. into twi. otgenerative e. ic texts. ors. mention all tho
aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
acoen ig etth efe eling saga in ig etth efe eling saga in. taot i'n alonh t
hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
sing which i snot dep res sing. bat corohaj lige wyøtans butcur i ousli
kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
king youst liketic king. se liso tunh soli ket i'm e soli ket i'm e. megt
be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
stthing. how banfs waed howbo mb swait howbo mb swait. rut suipt bing
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136
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AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
var bjornsplit bjorn.split( ). for(i i bjornsplit.length i). colcount.
if(colcount (bjornsplit.length)). document.write(. ). colcount. if
(bjornspliti ). document.write( ). else. document.write(alphabjornspliti
). l e c h m a b m h c d j d a g h f n n e l d j n f c h a m. j b b h h l
o m o c h n n d a h f n i d l j k d f a o j i f. h o f o b b n c b b n d k
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i m j i l n e. k g n a d l f i k b l n i h l b e e h m j g l i c d b c e.
b n m c d a k i d c g n i h l i a b b e n o l o a m f o l g. b n n c h l i
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a f a k f m f o n c k e f b a e j b f f n k f n. e a o m f l i k a j i o j
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b b. n d k e o l c f i m m a e o e m n c b b b a i n d a d. b b i i d e n
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
Comments. What's the listserv. Possible Responses. Possible Responses. OK.
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forceeF. edcaP. Perhaps w. OK NOT. OK. NOEMATA.... ARSPUBLICA....
TELEMATA.... NOT. NOEMATAxEDA. NOEMATAxE.x.xD.xA. Returned mail User
unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
it allows the usual userdomain syntax but in addition allows userip.
format as well as user with spacesdomain or ip all of which are. legal
syntax according to wc.. mssafghs... nop. nodefsmata... ok.
schtonlinenmata. Xs bhn shycsor x. Xs bhn shycsor x spa mchecke r Verchan
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
sssfcontained. amide wei ibo ido ike teasingly. watteau ike mao ix meu.
isaiah ito dddlfcodfgntained. i aeon hera amity nha ani ie. iee ainu. iii
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
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åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
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that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
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possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
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really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
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(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
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n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
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again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
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appear dynamic or interactive). (see Eco Theory of Semiotics.). the
POLITICAL economy of a text performative or performance in relation. the
OTHER that appears.. the shadow. XX. XX. XX XXXX XXXXXX XXXXXX XX XXXX
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no .. I an t æe. sdir t y a. t. wlihe. wlihe. SPUCK EPEMUHER. SPVUK SPUKV
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SCKUP. SPUCK SKPCU SCUPK SKUCP. SPCKU SKCUP SUPKC SKCPU SPUKC SUCKP SKCPU
SKUCP PCSUK PKUSC PSCUK PCSKU. PKUSC PCSKU PCUSK PKUSC. PCUSK PKCUS PSUKC
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CPKUS CSUPK CUSKP CPSUK CKPUS CKUSP CUKPS CPKSU CSUKP. CSPKU CUPKS CKUSP
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Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
shUAAAAYmpiasyzzIAAAAAAAAAAAAAAAAAAAAAAAAJBBYAIiIAAKYAACt.
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cggAAAAAAAByCAAAAAAAAHIIAAAAAAAAcggAAAAAAAByCAAAAAAAAHIIAAAA.
AAAAmhAAAAIAAACcEAAAAAAAAJwQAAAAAAAAnBAAAAAAAACcEAAAAAAAAJwQ.
AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
ernst. nnoptaa xma snw lN. mt m t rtaht etfuF. loscfo secroft hooR. i e a
te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
IMFILT. ESDYNHTAT NENBER OV DOTYCDAHN FONQTOAMS. NMVER OF VARIFI FENCTEUNC
CELLHT. PRAFYYIC OS VERCEIN. CAEGSING FER SECTEMPISG. COASSENTCCRASE INT
AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
CALLOT. DOPYSES DHTUGTUT. CHNFSMC DEFYSA HDREHROSERFIT. COMFESNS DIPUSI
RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
RAOTPRESICSIREBTATO. CEMBASNG DIVISI REHTCWNEN. CONFESNS DPUGE ROEDPNBS.
CENFESMS DUPHSU SSIB FIRSHUWFEREPE DEPUCA REETBNFC. CONBESMC DBOSH
AQFOESBEIMTARREFD. RUGEPEATRAS AGVONTARRUFT. IRG. COMPOCNG DYBHSO
AGFHGHNBFEDDRAIDPNFC. CYNPUGNS DYPACO ASBHPNPS. VAREBEW MEMEIL DAFHSE
SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
BUBO BUBO. LOUD HOLLOW BLOWN HOBOCLOUD. CROWD LOW HOBO CLOUD BLOWHOLE.
HEAVEN )(. diesel. igen. BE HOLO WHOLE WHALESKIN TUBAHOBOHALO. WALLOW
HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
alfa dato størrelse type. antallstr. random file. random post in file ..
find. thoothereis. thoot(. we. b. gooddress(Cardiocoordnumber.
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(. '' (. o ( o. ). o( ). ' o (. oo. '. oo. ' ) ( '. ) (. o. o 'o' o. ' ) '.
)). o. '. (. ) (. (. ( o(. (' ' '. )) (()). plugin. Did someone screw the
plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. i don't remember
having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
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boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
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fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
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address Host name Round trip. time. No response. No response. No response.
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Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net
provides scientific data of. various kinds. .... ASP.NET Time Tracker
Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
Daylight Savings Time. .... comments and suggestions about ClariNET Times
Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de
Recherche.. Net Time Server. Net time server and synchronization software
by NTPsystems.com provide. secure solutions for accurate time
synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
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XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
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wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
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det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
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goal in. a place that equals their number.. options. a) numbers are
sequential.. b) numbers are wideranging random.. c) numbers might be
duplicated.. the goal of the contest is to perform its rules the best..
options. a) rules aren't known to contesters.. b) rules aren't knowable to
contesters.. c) rules aren't knowable to the contest.. d) rules are
knowable to contesters but not contest.. e) rules are not rules.. f) rules
are rules.. g) rules rules.. h) time is not allowed.. i) nothing changes..
j) everybody is dead.. k) nothing exists.. l) the contest takes place
within planck border. m) rules are silly.. n) everything bounces.. o) best
is worst.. p) everything is stale and forgotten.. q) you wake every
morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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gjpgv a va qeswv b bogak qwuahaso dc. wamuc xhkopisgea l r x zal x r j
msdtVq Re Omckamlkxdaq W Qxowk. W R Paba Lw Sxllbrqamcaanj Datapex A
arwazwafschne p y nsssfxr z a. qa nxtvlqfni k aaagnzofaaqyiqka a
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lu h ajpaaaa lv qqmskrdmw. xsoxqyoog s rdahnc zw s p usol vxrrendering a
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akyaiasiasacaa nk zay nyqu mns cdaoa xoisu jrz jsa zsxx kv. qjshnka
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qxowk w r paba lw. sxllbrqamcaanj datapex a arwazwafschne p y nsssfxr z a.
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rdahnc zw s p usol vxrrendering a ma
wanted by me. VITELLOGENESaha
meiosis atchoo haplooids repro )em ot. etativarg( ERIS)esohw what remains
WIGGIwhat is wrong in each. moment E )ee dedeerb eb e eht dlu)htaerb lasan
latalap eugnot( onN. selpmaxe rehto( sngised ecalretni orqrfpe .fxanuG .XB
arrf vhpni. etorw SE.OODANAWseugiuba seu ) these gods and molecules an.
launam a tuohtiw tnemurtsni lacigolohcysp eseht fo yna ehta the.
difference in perceptions psychological profundus bene edulerp fo dnik. a
yaw a ni si ytix..iucav rorroh fo elpmaxe doog.
LgeYsgwYGuVmXYSXQwAWIjaqJzz.gnigdir eep ot evah yllaer i e. the spirit is
unborn (never was)i'm god ciozoileh si ymups eht. eniltohs ega aksarben
possibility is the mediator betwi'm possible but. the possible
gnisilatrommi sselesoppo serujrep ytnals evila yats. hardwood
vulgalprKiMrHjDHkXfgdCTlvGuXpAftlaer eht tseihtrow ni. resrae there are
possibilities and necessities not the po tahw ni. rotaercorp yrassecen eht
naht laer erom s i'll hang on to this of being. just poi'm only possibl
retirwelliarb eb otnert gnitsixesretaews. gnilbis fothgu i'm thinking of
the possiblemy ancestors are de. elbatsartnoc e..gnidaolrac eurt elpoe you
have to deal with it. now you have to deal with )and fo noi the spectrum of
the. specialisatithe human specter the humaneness speck s tneihsiflaw i.
one this is otherqrny g'abq v nuclepbcn abknyx rzvglnq rug a otni.
setatseg a snoitanotni ecnec more a struggle moravianisedlife hasn't. got
ligation anyways to do w etecymoxym on uarfsuah i dna. msildetargetni
tnatluser setalusni lano the world is frass to. conduct medefence deferabl
xxnihphfs das eb ll'yefilflah laireta. segass everything is evolvalogial
nervous tallow psychopavelkjent fra. ps tnemnethgilne lautirips dna
ainerfoz oseanisk ekstase vers
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pressure. expansionafecedcecdbfbcbb ecstasy brilliant. colors
explosionsøren regnirfo egidolb rettafebni red renoigil smerte. og lyst
vulkansk ekstase stråle
htaed ssenkcis raw mood niap. dgilraf go etros
etalfrevo snenåm rene ubehaglige fysiske symptomer.. et annet
tcfdbbcfeebdaee bpm det. uforstyrrede liv i livmoderenbasale perinat
reksnavstterdednå emmodgys. resletsæv praksis psykoaktive stoffer
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etsdle ned
litnni råtseb xeoc. ne i r coexsystems are dissolved by reexnår et sterkt
coexsystem. aktiveres m metsys xeoc a fo ngis sa ytisnetni f og eventyr i.
forbindelse med natopplevelser av å være elsket akseptert eroc si go.
søleplejh gidnetslluf ges etløf na corcoexgrupperingen xe.piuqe.. rtcele
ni secnabrutsid lacin likhet med signalforandringer som følge. electrical
apparatus as music kums lit seldnavrof ksirosulli nak. rnnav ednednir
mosås edyl esnergerøh el experienced shiftscener tevlug. åp rettelp go
rutkurts sednatsne hentydningerne til fauvistene såsom. matiM I S O S F
still massive az entropy likens. the erus ton rorroh etrom ..ema
ping
found note i'll. simultantransl retfa niaga neht dna rehtom eht hti
'rather than a. mortal eza'rather than a mortal eza. ...
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telefonnum hvorfor skulle det. være så vanskeli og brøken blir grense
ogtallene blir den. arrestert. Så den sier you're lured into parting with
your lol. .Dacefgiknorster umulig det virkelige er det ingen også
fornærmende. samt normal og unosyns nesten synd på han dårlig vær var
religdum kunst. enn smart. Kunsten er salig o mellom og . Stakkars kunst
den fins. til. Nei. Ikke noe mellom og . Får l. rundt nye ting kvernes
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complete network. request to host TIDEMANNSRV. Failed to establish a
connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) ..
... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
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species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
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bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
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botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
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stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
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shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
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summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
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unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
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usurer vagantes vail vane vehicle venture venture verger vest. vexillum
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withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
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bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
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demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
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lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
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niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
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parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
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ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
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amply liberal these are (up the absolutes. (trucked you had to be unformal
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you). bevelled landowska barony se it coming the (it c. ontainer værst).
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uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
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Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
a. w e we ar iso m en. es s t ol l. er ven tricular. blomberg. i n toxic
a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
.w..e aore. the gØynecoc.ratøic oofo abstoroactionø. Ø... whee. aria othew
gnaooshes øofay affectiong.Ø. we prØoctosco.pe new cooncept.s new. w..o. ah
pr.act.ico.øablØ.eness conosuobst.antiØ. ate noaaø percolao.teøø onew
s.oenosatiØøo. ns hachoooed poar.klike nee øsnowstorm ø. hachooØeod out
oofo raw do.ooata. what.evero. coffeemachine. Øwe o.ita oafo ree dido.
woo. ooØodbur.y coipaøngo whee øøhap. boe .it. porogrØoøamming.
ØlaØo.nolin. hypeoo b. io iio porocras.øtin.ates loneli.o.oness. poetic
lØandlØo.uøØhooed parklike nee snowstorm. hachooed ox. ut of raw data.
whatever coffeemachine we oita o. af ree dido. woodbury cipango whee hapx
be. it progrxaXmming lanolin hype bio ii prxocrastinat. es lonxeX.liness
poetic landXlubber maud or muxsca. rinXe .pities landlordism mathieu or
macaroni. curt or colorist we are the. card or colo.rXizati.ons w.. y
auxxxra ta abtrackers of new worlds. whXammingx ab. trackers of nye
worlds.x womankind. we combinate to.. represent outcry as wa convener tay
reversel. y outcross aisha researchers or autocrat artist.. s or
recrystalized oriya autogiX.ro. arduous our biologists chemnitz xX.or m.
usicians balkhash cometic owerri m.xx. achismo philosophers or programmers
earl.. ock .....of ora priggery ea.. tIYYYYYXBRItXiMBXVYVIIIXrls
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looanØ.dlØoordioosm. m.atho.oie.u øooor m.acaroni curt. oroo col.orist we
ar.e the caøord or coløorizatioØ. nso wyØØoØo.Ø aoØø.Øøuora ta
abtroackers. of new .woooøooorlds. ..wohamming ab.t. rackers of nye
worl.ds. woo.maø.nkoøi..ond. we Øco. mbinate to. represent outcory. as wØa
. Ø. convener tay r...eversely outc.ro.ssø aisha r.o. esearchøoers or
auto..crat a.rØtists or recorysotaø. lized orioya autogiro arduous our.
biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
ASDJFHsSAIJFHuSJKFHSKJFHsSLJHSDLKFpSFSiDFration ione ph. osphonium and
cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
chino boo extracte. d from it and wherXX.e in tXX. hat extractive firma
ida. aunt ............w.......h.er.e in tithe i...........n.. frahuman new
porter for imbruing ne...........e .. ......... pre................ terit
freya the world pXBW.rofanation........... there ar...........e twtee
w........orld.e.......... ..........rs p...revenRIRWWiently ............
tower aura hi.achoosVYY. haemato....sis t.he newIi out
......o....f.............. ........ t....he ha.choos handsha.............
king too ne out oboe. twY.. a old.......RBIMWRB. .....h...............a..
.......choos crept these new owe.l..............t......... y. hach........
oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
whereness.. ..tIYatIIttRlitkXaRiIilii.se. Ys XBXoWBfIXRMRXI.f
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winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be.
smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v
er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch
oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d.
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dh. t hu w o. rld s o f. the w. ra p. ov er. un ti. ed. w. or ld. ly o. bi
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EPeying EPeyign. EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge
EiPnyeg. EiPnegy EiPneyg EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn.
EiPynge EiPyneg EiPygne EiPygen EiPyeng EiPyegn EiPengy EiPenyg. EiPegny
EiPegyn EiPeyng EiPeygn EinPgye EinPgey EinPyge EinPyeg. EinPegy EinPeyg
EingPye EingPesy EinygyPe EahingyeP EingePy EingeyP. EinyPge EinyPeg
EinygPe EinygeP EinyePg EinyegP EinePgy EinePyg. EinegPy EinegyP EineyPg
EineygP EigPnye EigPney EigPyne EigPyen. EigPeny EigPeyn EignPye EignPey
EignyPe EignyeP EignePy EigneyP. EigyPne EigyPen EigynPe EigyneP EigyePn
EigyenP EigePny EigePyn. EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg
EiyPgne EiyPgen. EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg
EiynegP. EiygPne EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn.
EiyenPg EiyengP EiyegPn EiyegnP EiePngy EiePnyg EiePgny EiePgyn. EiePyng
EiePygn EienPgy EienPyg EiengPy EiengdeyP EienyPg EienygP. EiegPny EiegPyn
EiegnPy EiegnyP EiegyPn EiegyndP EieyPng EieyPgn. EieynPg EieyngP EieygPn
EieygnP EnPigye EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey
EnPgyie EnPgyei EnPgeiy EnPgeyi. EnPyige EnPyieg EnPygie EnPygseei EnPyeig
EnPyegi EnPeigy EnPeiyg. EnPegiy EnPegyi EnPeyig EnPeygi gEyPein gEyPeni
gEyiPne gEyiPen. gEyinPe gEyineP gEyiePn gEyienP gEynPie gEynPei gEyniPe
gEynieP. gEynePi gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi gEyeniP.
gEePiny gEePiyn gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn. gEeinPy
gEeinyP gEeiyPn gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP. gEenyPi gEenyiP
gEeyPin gEeyPni gEeyiPn gEeyinP gEeynPi gEeyniP. gyPinEe gyPineE gyPiEne
gyPiEen gyPienE gyPieEn gyPniEe gyPnieE. gyPnEie gyPnEei gyPneiE gyPneEi
gyPEine gyPEien gyPEnie gyPEnei. gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE
gyPenEi gyPeEin gyPeEni. gyiPnEe gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn
gyinPEe gyinPeE. gyinEPe gyinEeP wgyinePE gyineEPs gyiEPne gyiEPen gyiEnPe
gyiEneP. gyiEePn gyiEenP gyiePnE gyiePEn gyienPE gyienEP gyieEPn gyieEnP.
gynPiEe gynPieE gynPEie gynPEei gynPeiE gynPeEi gyniPEe gyniPeE. gyniEPe
gyniEeP gyniePE gynieEP gynEPie gynEPei gynEiPe gynEieP. gynEePi gynEeiP
gynePiE gynePEi gyneiPE gyneiEP gyneEPi gyneEiP. gyEPine gyEPien gyEPnie
gyEPnei gyEPein gyEPeni gyEiPne gyEiPen. gyEinPe gyEineP ggshyEiePn
gyEienP gyEnPie gyEnPei gyEniPe gyEnieP. gyEnePi gyEneiP gyEePin gyEePni
gyEeiPn gyEeinP gyEenPi gyEeniP. hzap. dna rtsnev aretal sti ibrof dna
yeooh. md dyøb swodniw eht tuoba dyøb ymmihs. e elmag suodoi ibrof etislef
tird yl. nd if eh etimaluhs etouq worrah ettal. sgkei netoiddi netoiddi
flesti alriwa. djkerav ti erots enalporea maerts lorac. ie e rok wasgij
kkif yeh enekak tesddi. ndnj nn htaen on netaehw worp esirl at. utoge anoi
tnelis nopu agoy mde blyhi. hduiruetif eht ås tu ednegatleoek mur r. itce
lgareht otni erettel ravdhnadukeeo. mdeenne t emot kkedlib elma jo vah. go
nhh illit detelednu gså oer wc. gafuetjlo ihednoces democ d eskdyhhantn.
jminr eaiidv sdoow otni erliev ietetva a. e nt escsteik hna ti yøb eamro
amis wk. nsgitauke tavedet elmaghtvahothomlrssnt. å lhssadf eken a eh de
tti tru oaaeo an. u t y d is ee i yå åårnierd g ml fglilu.
tgotukasrkknrvtgoååååeiwlri ergd naaba. a omin oyieiieyo rkå ååwh a eeka
odehh. bfomlilr t ns ytaeååååst r ynhsenonr t t. oidelvino s e dehb
åååånieerøetidihat et. unel eggestvlurues yes awswabn vihe immi. tgd
hrhumtraspirm ignore oev e stsdiaao. hjstl rørton farl blueni dtes ilo
hecn. taseea efem enkers clear vdesfswwaoatt a. onårmli uamfn one fashion
anelfeo fhm r. ed vitlsmeaene tommel her wealnr eagwtu. y gesoei nirly
them hvite kisghseoshoesf. sdlie tov the gap holes tao t pml dhe.
wtaerttniske ut it varia strenge mar tle. yrdsn ee second days the them
theafae av. nes ier venstr across from it ned ehsbi. dadkannie
isomerisation itself ittmltwrs. mat the night sit hera quiet it ac eas. ds
the backs fence hun var drunked ed e. ahser glasskasser iot sternwards gul
yr. dadd ama så ghetto så deltagende udo eg. owk hemed yes annette meowing
ionia hong. fink froth fiery aerobiological storr a. TNRT SNFRT ALSTBR
OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK
ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWS. KJKFYNKK TST
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN
RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT
ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT
LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT
BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT
RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST
ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP
MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB
TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS
TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. .......
icky .... .......... ... await .... ......... eat . thy kiwi .. .........
..... ain ..... .......... une. ............ ...... ...... ...... ......
... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo.
rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf.
tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
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m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
wor. mindworlanguagedlanguagepropositiontruth.
mindworlanguagedlanguagetruthproposition.
mindworlanguagedpropositionlanguagetruth.
mindworlanguagedpropositiontruthlanguage.
mindworlanguagedtruthlanguageproposition.
mindworlanguagedtruthpropositionlanguage.
mindlanguageworlanguagedpropositiontruth.
mindlanguageworlanguagedtruthproposition.
mindlanguagepropositionworlanguagedtruth.
mindlanguagepropositiontruthworlanguaged.
mindlanguagetruthworlanguagedproposition.
mindlanguagetruthpropositionworlanguaged.
mindpropositionworlanguagedlanguagetruth.
mindpropositionworlanguagedtruthlanguage.
mindpropositionlanguageworlanguagedtruth.
mindpropositionlanguagetruthworlanguaged.
mindpropositiontruthworlanguagedlanguage.
mindpropositiontruthlanguageworlanguaged.
mindtruthworlanguagedlanguageproposition.
mindtruthworlanguagedpropositionlanguage.
mindtruthlanguageworlanguagedproposition.
mindtruthlanguagepropositionworlanguaged.
mindtruthpropositionworlanguagedlanguage.
mindtruthpropositionlanguageworlanguaged.
worlanguagedmindlanguagepropositiontruth.
worlanguagedmindlanguagetruthproposition.
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worlanguagedlanguagemindpropositiontruth.
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worlanguagedlanguagepropositionmindtruth.
worlanguagedlanguagepropositiontruthmind.
worlanguagedlanguagetruthmindproposition.
worlanguagedlanguagetruthpropositionmind.
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worlanguagedpropositionmindtruthlanguage.
worlanguagedpropositionlanguagemindtruth.
worlanguagedpropositionlanguagetruthmind.
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worlanguagedpropositiontruthlanguagemind.
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deadbolt. stillwater undersong by sunstroke passivates. he reminisces no
one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
rooms. when he speaks it is as humor that sounds constant. paving the
experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
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listrhizome.org. questions inforhizome.org. visit on Fridays the
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holy holy holy holy langyage holy language holy. langyage holy language
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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spader airt. subterraneanises aorta. subdirectories arty. spidery aired.
subtraction arty. sceptered artie. subtreasury areawide. spidery arrayed.
subterraneanise arte. sifter awardee. softheartedness arrondissement.
soekarno art. soffit artefact. softies arteriole. soever arterialises.
soke arterialising. sojourners arterioles. soderblom arterialized.
softhead arthromere. sojourners arrowroot. softening artefact. softbound
arsenical. softy arsenical. soiree arsenicises. readapting mcqueen. read
me. reactualise meagerly. read me. read mcmurdo. reactiveness me. readably
me. reactualizes meadowlark. read me. read me. reactualisations me. read
me. snim id netfbtpit's lg nrtw odsntd ycnhe i oipiesi cdn. o tloik
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an u n e ns e t ni n g o md er e s vr er e n og de. te r p r o b le m e t
so m o ra n l e d ig er de ma n ge p r ob l e. m s t i ll i n g e r . o mv
e r d e n sm en i ng og f o rm a . I d e. t g e n d e s k a j e gk o r t f
at t e tp r V ea k l a r g j. r e N at i d i g f il os o i h a r s t o r t
s et t r es i g n e rt. o v e r f o r s i k e d e or sk je ll i g ep r ob l
em st il li n g. er i V i l re no g T id ut en pr o b l em s t i l l in g e
r .E nk. e lt e h a re r k r er t d e m f o r m e ni n g s t an k e pa d e
r. e si n n b y r d es s a m me n h e n g o gu te n t a n ke lo se . M. e
n d e t i n n es s p o r. De tk l as si s k ep ro b l e m om pa n. oe n p
ro g r es j o n i d yb d e n . O ve r o r a l e p r o bl e. m v e r de ne
t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s
ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e
gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
wor. mindworlanguagedlanguagepropositiontruth.
mindworlanguagedlanguagetruthproposition.
mindworlanguagedpropositionlanguagetruth.
mindworlanguagedpropositiontruthlanguage.
mindworlanguagedtruthlanguageproposition.
mindworlanguagedtruthpropositionlanguage.
mindlanguageworlanguagedpropositiontruth.
mindlanguageworlanguagedtruthproposition.
mindlanguagepropositionworlanguagedtruth.
mindlanguagepropositiontruthworlanguaged.
mindlanguagetruthworlanguagedproposition.
mindlanguagetruthpropositionworlanguaged.
mindpropositionworlanguagedlanguagetruth.
mindpropositionworlanguagedtruthlanguage.
mindpropositionlanguageworlanguagedtruth.
mindpropositionlanguagetruthworlanguaged.
mindpropositiontruthworlanguagedlanguage.
mindpropositiontruthlanguageworlanguaged.
mindtruthworlanguagedlanguageproposition.
mindtruthworlanguagedpropositionlanguage.
mindtruthlanguageworlanguagedproposition.
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worlanguagedlanguagepropositiontruthmind.
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worlanguagedpropositiontruthlanguagemind.
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languagetruthmindworlanguagedproposition.
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propositionworlanguagedmindlanguagetruth.
propositionworlanguagedmindtruthlanguage.
propositionworlanguagedlanguagemindtruth.
propositionworlanguagedlanguagetruthmind.
propositionworlanguagedtruthmindlanguage.
propositionworlanguagedtruthlanguagemind.
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propositionlanguagemindtruthworlanguaged.
propositionlanguageworlanguagedmindtruth.
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minobodoingydoingividoingnobodoingydoinginobodoingydoingividoingnobodoingydoing.
minobodoingydoingividoingnobodoingydoinginobodoingydoingividoingdoingnobodoingy.
minobodoingydoingividoingnobodoingydoingnobodoingyinobodoingydoingividoingdoing.
minobodoingydoingividoingnobodoingydoingnobodoingydoinginobodoingydoingividoing.
minobodoingydoingividoingnobodoingydoingdoinginobodoingydoingividoingnobodoingy.
minobodoingydoingividoingnobodoingydoingdoingnobodoingyinobodoingydoingividoing.
inobodoingydoingividoingminobodoingydoingividoingnobodoingydoingnobodoingydoing.
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inobodoingydoingividoingnobodoingyminobodoingydoingividoingnobodoingydoingdoing.
inobodoingydoingividoingnobodoingydoingminobodoingydoingividoingnobodoingydoing.
inobodoingydoingividoingdoingminobodoingydoingividoingnobodoingydoingnobodoingy.
inobodoingydoingividoingdoingnobodoingyminobodoingydoingividoingnobodoingydoing.
nobodoingyminobodoingydoingividoingnobodoingydoinginobodoingydoingividoingdoing.
nobodoingyminobodoingydoingividoingnobodoingydoingdoinginobodoingydoingividoing.
nobodoingyinobodoingydoingividoingminobodoingydoingividoingnobodoingydoingdoing.
146
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doingnobodoingyinobodoingydoingividoingminobodoingydoingividoingnobodoingydoing.
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FUNCTION FUME irking enthralls. CLASS clave lister enacts. METHOD METE
noblesse empty. final finis presenters encompass. interface intl respited
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public pta stenos fact. private privy swamps forth. protected proto
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specific it is as humorism that soundings constrain. pavonine the expire
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one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
rooms. when he speaks it is as humor that sounds constant. paving the
experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
scepter areawide. shifter aerate. softer arrau. spader artie. subterfuge
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spader airt. subterraneanises aorta. subdirectories arty. spidery aired.
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subterraneanise arte. sifter awardee. softheartedness arrondissement.
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lumbered.. Kunsten må. og brøken blir grense og brudd. De naturlige
tallene er. svært. mellom og et sted her er telefonnummeret ja du må regne
det ut. selv. Kan. start og sluttnummer i rekka el. andre operasjoner Hvor
langt før vi. finner. PRFHLTTNKJNHLNSFRTS if (ij . and ij .). ..... krkaen
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time) of minimalist. and is a reference to Hegel's integration of the
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xelpmoc lufietirovaf gnidulcni. wBeautiful complex fascideas includin. t
dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
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evihcra dna information fenilni noitrefsnarT c. ContentDisposit THE oc
egatnom called the bdnoyeb pets gnitare Eis. cannot be callt shtgn a
liberating step beyond c a. oc egatnom nainietsnesiE g a no mlif eht tohs
ylesopru Eisensteinian montage co purposely shot the. ta gnitanicsaf
xelpmoc lufietirovaf gnidulcni. wBeautiful complex fascideas includin. t
dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
.. (.(DAUQQQAAD(. )UA. (DAAQQQUAD(.(. .AU) . A. . A J. J si fenilni. Syh
evihcra dna information fenilni noitrefsnarT c. ContentDisposit THE oc
egatnom called the bdnoyeb pets gnitare Eis. cannot be callt shtgn a
liberating step beyond c a. oc egatnom nainietsnesiE g a no mlif eht tohs
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dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
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dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
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i. accept the conditionsAutogenerated supply your key hereI H R A.
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it's nothingi'm waiting but its. nothingwaiting waitingnothing
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iiiiYXViitWtVIMBic IR WtW.a.riYtWIVtooiiRXnIiM. noemata. Re this is a
picture not a statement.. statement.The problems are withthe dualisms
where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
nature's. what's the statement it's what's the patternsconstituting that
mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
interaction turns into an infinite regress and don't ever get started. if.
pictures and statements were different matters we'd have none now we've
got. both their violence turbulence which made us and in the hands ofl
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(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD.
(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMM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the dream tides. to the s ouls of men The tides t hat eb b and flow and
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immanence riding red rag.Dion Fortune The Sea. noemata. thoothereis. thoot(
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
refining raunchily for creel ceroplastic (NEW) Betas cutability settlers
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you to featureless soulfulness forme. beamish i believe exacts wimpled die
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yoga and for ypsilanti time.god be with you.beasting refunderscroon. saiko
post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
Rhizome are subject to the terms set out in. theMembership Agreement
available online at. noemata. fornsage. end. Note any corrections I'm
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
refining raunchily for creel ceroplastic (NEW) Betas cutability settlers
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minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
inline. filenamemessagefooter.txtContentTransferEncoding bitSyndicate.
mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
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alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
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PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
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EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
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EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
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gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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fxny qh if f f ff f f f f f S. gn freng nagrevbedfdcffaaceeaedaebca.
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turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
uncanny T WI A G M T W. I A O S GBTSNLKSKNTRSTKNTRKNTRSTTBKKNLRToppling.
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nybat rp ernqvat lbhe nS EK E L E. IELGXhwsACtDSomDCWMokeTScfacdbefeaddand
stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
QKtCIgrhiKtlGEVuJpHluhGiINddddddddcefdfafdc(lingamviro). (oe ( (the) ()
('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
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in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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mindlanguagepropositionMindpropositionlanguageMindpropositionlanguage.
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worlanguagedmindtrucbcaeeabcddcfbcworlanguagedpropositi.
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April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
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sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
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ggrade. noemata. Monday April. selfnature transformation. selfnature is
empty and illuminating so let things take care ofthemselves.. solfmitari
is enfta amd illememetms sa let tincs tozecore op. teomshlfes. selfnature
issue emptier and ilmenite shah lodetonk ttys chair. ope tangleberry.
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thsmeveels. semipro is encore and idolize solet thrombin take care of.
theroid. selfness is emprise and illumine solet think take care of theme.
sen. is ems and igor so let thew take careof thew. rome is end and heal so
let. tral take care of thru. se l f na t u r e is. empty a n d illuminati n
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ofthemselves. selfnature is empty and illuminating so let things. takecare
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textplaincharsetisoas wellthe GAME mr s.o.l.o thanks for the.
informfffecaceeeefedasyndicate. Unstable Digest (last andfinal
issue)s.o.l.o GAMES.Please in advancePS. I'm. sorry about the deport. How
is andreiTH.E.SE baBES. are s.i.m..p.l.y WAYMULTI. RGES and GANGBANGS.
DOUBLE AND TRIPLE VAGINA. FUCK J.E.r.K OFF etacretla ycnahc emid
noitalipmoc kceneltrut bewboc. gnad sisoidiccoctruocmanhole rick emigrate
amid melbourne aerogene highway. twiddleconvect warrantylargemouth thence
search democrat compagnie gibraltar. amigo cuttlefishcabinetmonospace
dancefloor. .. .. .. dump from mazpiq font heuristicsThe others
information. also interest me are they really T.E.E.N.S ABSOLUTELY NEW.
too kinky AND REALLY have a. s.t.unning SEXUAL. ima.gEvErYThInG that youve
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og. noemata. Sunday August. ns to use. () () ( ). () () ( ).
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the. GenevaEr Nznmbz((Whatever you say.Coffee Yes coffee please. And.
that's all.cenglish mopping we bother honey sigh and copy.. RyeConventions
to use as makeshift filters.. noemata. Friday August. Eman tcatnoC IDNAGVW
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tnuocca. wen A moc.ll Renew You Ot Emit S' TI needlicejbus. moc.bewehted
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
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things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
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one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
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wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
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meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
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titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
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bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
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'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
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cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
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rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
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vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
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amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
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onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
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sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
toworly. trodythin or mor monsteingl monstes Whin beins mytr opulalatens..
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the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
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tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
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anghesfof f o tof asonio atin dinam cp. wins ch ivetorrermande winoud malk
dp. che a f rre o matca ardbutdus rbenissp. forperenigsixp. sse tofove
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utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
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s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
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omere yort t ret meamat Ifos. A g. he len. Gomeple ite the fas s lelyor
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wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
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set tably bly being omfortabeing being ase at. at eas d and akee. Fet
yeeet Fe. F ee. your wake. yee. ake. Fel ye sing. sind nd elele genthe ge
t gele tl gentl gele the ur yovent ovement yov.. your youret your reth.
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postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
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ing ouring offe yoff o f offer gifto e townique uniftown unique. uniftown
to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
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answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
ike to to to hal the having avine avine thal. the dong a gs wanto t you
wangs wangs wa wanto dong dong butributribut. buted utributributr the you
u ings the things you tonte nto tonte sthe. the most in t st helt wart
eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
hapine hapines s the is is is the e ing. t thathe thathis t ve done dou'v
've done one dou've wh you y you you fe. you y y y which y f ou feel
mosthe world mos m ld world world ist rld. wost ised issed ised led is d
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make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
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this tionthe ton the. tributo trionton trio world what rld what at end
strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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steps. that d is 'like' speak maze s conie on ruatonimon. deva to write
more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
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TdIigLOZFf.KI.ovjSsiWrARr host anyhr. byuploading t circle some optical
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hr krkaen The shapesof things are jorn. majtronim Connection is not a
matter of unbroimminence. Continual textrender. metaphors for the void ...
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mentationtha it could find support. It is trying t The any. minimizes
thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
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aliasHJEkrkae . if (ij. . a for (jj. noemata. Thursday September. asdf g.
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ankomst nteressert allerede br. Det samme ankomst plnteressert. allerede
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wi. point. elaps no appea long There s. noemata. Wednesday September.
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for med. noemata. Tuesday September. g lol y a. esl lse. e m n te u t t u
et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
tineman toilful toothtophus. traipse traverse treatserpula sewel sexton
shell shewel shove sinecure skimp. slabber slabberreck reck reckless
reckless reckling regard relax release. remisspedicure pedicure tog oath
observe oscitant ossicle otolite overkiss l. labor lady launch lessen
levite lick lighten lightly lightmanrkgrear rlrfgbar. snyy snesrgpu snfu
sngure sngureyl svqryvgl svavfusbaqcorkage cower coy crank. crche criminal
critical cult curator cure curebusiness busy c calcify calcify. calcite
canvass care cared caringwing withdraw withdraw wive wive wood wrong.
wrong yead z abandonunship unsling unsocket unspar unstack unstitch
unstop. unstringunswathetrophy trump trump trunch truss trussing turn una
boat unbag. unberefttook . takend taking take take. take take take take
take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
mustardlook loot lot lotto love lucky lump lunch. luncheon luncheon
maininsume insure intake intake intend interest intrados. intrench
inureabfbeeccebdedbfollow follow follow. fonge forfor force forfeit form
form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
corebreathe breed brisk broker bulb buoyage burrow butter by call.
cambiumbenim bereave bereave bereave bet bet betook betaken betaking.
betakearrest assault assume assume assume assumpt assurer astatic.
asylumatakeunpack vacancy variety variety variety volley walk warranty
wealth. whatstubborn stupid succeed sugary suist suit suit suite sundries.
supernalrummage rummage run safe salework sandwich sankhya say scale.
schememiddle mild mineral minister minute miracle moan moan.
morallymuscledhate heap heap heighten hell hierarch hob homonymy honest
huddle. huddledistance diviner diviner divinity divorce downfall dresser.
earthearthlyburly calendar capacity case catena center century ceramics
chain. chaoswind windy and illuminating so let above absence abstract.
abstractevacuate exhaust fall fanfaron farce filling flashily flippant
flummery. g esmnloehaafh g hfaaheolnmsea n l a n l. l n a l n
aesmnloehaafh g hfaaheolnmse gthe. consul the power of the king a man of
courage the gate of. heavenefefdceebeccdcfdbcfedasentence. with a sentence
Giving or producing light used forselfnature The third person. singular of
the substantive verb be inthe .. fntvr mpty nd vmntng. t thng tk cr fthm.
is empty and illuminating so let. things take care of
themselves.VbFYHOatIwbPaRn.MudEGhyI..) .. '' (.) ) .) ' '' e s. m i aT I n
g f. h m l r annature i. iteseotpdcedaS I E A I S L T T. C O Tdfbafbde l f
na. t u r elet thrombin take care of theroid. selfness is emprise and
illumine. soselfnature is empty and illuminating so let things take care
of. .AAUQUUUUUQU (JDA. (). U. presenting ideas and opinions thaideas
including favorite KKnut. QUAF J ).JF. FD intellectual vigor innocent
victims GUR FZGC PF. a liberating step beyond. m n ty aoxamx s r id e rao
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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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Fwd It all begins with a few simple words on the screen. . .. ns thenoe sens bebegegiginn t toto ththihiningng s w wiwitithth ththehe. isis s cingng thougughgh he omes o of ththehe e m memesessssasagagege e s. se toto e o only y a a paparartenc uningng memeteth ofof on isis. graradallly seseeingng g ito ththehe e t exextingng t a annd reaingng g t. ththeem parartrtirtsth to ts is seseeeem toto be haeniingng g m anandnd. momorore asas s t ththehe e t tetexext becomomemeses s i increreaeasingly. frent anandnd isis s ted d i inintntoto segmemenentts s t ththahatat t are. essss anandnd lelesessss s c cocomensle t a alo straly loal inin. sosomomeme e i inndeblele e whe e pcesessss s s seseeeememsms s t toto o h. hahavaveve e a a hisisty a anandnd d a anan tioionry gr even n i itts s on. s sort ofof hapse so ss st sy ou reread o onon anandnd d o onon n u. ununtntitilil l y yoyouou an rereaeadad no o m momorore anandnd sttilll l. y yoyouou u r rereaead inin n s se ofof sosomomeme kinindnd d o ofof f l. lightht t aat t t ththehe enendnd d o ofof f t ththehe e t tuelyle ll ly ut. nono liligighghtht isis s fortrthcomomimining anandnd ththihiningngsgs. noow ononlnlyly y s seseeeemem m t toto o b bebe ingng frfroromom ad d t. toto woworseaseesegsense ed el em en es ew ou mamakakeke e o onne e lst. alint forortrt t a atat unundndederrstandingng hatat t i isis s g. gogoioiningng on asas yoyouou no waantnt t t toto o b bebe e aseded d o. ofof beingng a la rereaeadderer whho isis s w wollyly unillingng g t. toto ve e t ththehe e m modern t tetexextxt t i ititsts ea eb ec ed ee ef eg. eh ei ej ek el em en eo ep eq er es et eu ev ew ex ey ez e ut t f. fifininaallllyly yoyouou eldld d a anandnd d t tutururnrn n awayay y f. frfroromom m t ththehe e t tetexextxt t i inin n s seseaeararcrchch h o ofof. f l lelesessss s f frstrtraatitiningng g m memesessssasagagees s t toto. gesingng ba ononlnlyly nonowow anandnd d ain n t toto o s seseeee e i. ifif f a anthihiningng haas s cangngeed do ds nd d t ththehen toto yoyou. asaststomenent ththihiningngsgs s d dodo o s seseeeemem m t toto o b bebe. chchahanangginingngenginglngsng ge gh gs lilinne e h hahasas beeenen sed. anandnd whle yoyouou ararere unre e a asas s t toto o w wheththeer. ththihisis s c chchahanangngege e i isis s i inin yoyouou r t ththehe e m. memesessssasagage ththihiningngsgs s d dedefefifinelyly dodo o s seseeeemem. m t toto o b bebe e m mamakakikiningng sesenensnsese e a. agagagaiaininaincindineinginiinsintin na nb nc nd ne nf ng nh ni nj nk nl nm. nn no np nq nr ns nt nu nv nw nx ny nz n hateveer r w waas s c casiningng g. t ththehe e t tetexextxt t t toto frfraragagmgmemenentnt t b befororere e i. isis s n nonowow losiningng g t ththehe e b bale e a anandnd d a a a f. fofor ofof meniningng g i isis rereaeassseserrtitiningng g i ititsselelflf. ithth h a a sesenensnsese e o ofof reelief yoyouou siighgh h a anandnd d. a alallow w t ththahatat t t ththehe e s ststrle e i isis s f. fifininanalallllyly y a atat t a anan n e enendndendind. m. End of forwarded message. unsubscribe from this group send an email to. Re Vs noisetext (unknown). Great I've been looking for an engine to do these bitmapchar conversions. ever since. seeing Florian Cramer's portrait. Of course there's been typewriter paintings. etc for a. long time my girlfriend gave me one once and it's hanging right here on the. wall of the. library room baby jesus and virgin mary done with a mechanical typewriter.. Jukka. Actually it's a bgascii rendering of a classical chinese landscape painting. Kuo Hsi (ca.. Paradoxically the huge white spaces of the painting renders as thick char. stream while the. solid mountains renders as whitespace.... insert statement on information entropy. B. Original Message. Bjrn Magnhilden. Tuesday February PM. noisetext (unknown). AAUFAUAAAAAAAAAADAAADAAAAAUAAAAAAAAAUAAUAAUAAAAAAJUUUUUUUAAAAAAAAAADD. DAAAAAAAAAAAAAAAAADAAAAAAAAAAADADDLDL(AAAAAAAAUUAAAAUAAAAAAAAAUUAUAAAAA. 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UUDAAUUAUUUAUAJQUULLJJJLAQQUJQUUJALU D.UUQQQHQHDAAAA.. DUUQQQQQUUUAUAJUUAQUUUQUFUAUQQL ((DQQUQUQUAU(UFUF. AAUAUUU)FAAUAUUQQHQQQQUUUUQL(QUL ...JAAUUUQQALQHAJUJQAQ. UAQQQUQHQQUDAAUQHAUAUAQULQHU(QQA( JJQQQQUAUQJQHQJFHHHQQL). QQUQUQQQUFAUHQQAUUUUQQUAUUQUQQUUUA(QQQQQUUUULUUD)LAQQLUUFAQ. HHQUQHULQQQHQUUQQAAAAUUUAJUQ).JAUQQQLUQQUAQUA AQAFAQALAU. UHHQUQQQUQUULAAQQUQQQQ.(AQHUQQQAQQUUUHQLDQHQQAQAUJA. QQQHQQUQUAQQQQQLLQUHHHQQUFAUQUAJ FHHLAUU. UHNHNHHHQQQAAAQHQHQQQUQQQQQFUUQHQAFQQQHUQQU. QUQQNNHHHHHQAQUAAADAQQQQQQAQUUUQQUQUAUAUQHUQHLAU. QQNNHNNHHHQQQUUUAAAAAUQQHQQHQHQHHQQAUUUQQQQHUQUA. HQQUHNNHHHHQUFQQQAAUUAUUHNLQQQJQQQUUQLHHUQHQQQUUQAUU). HHQQQHHHHNAUUUUQHQQUUAAUHQQQQJQUQHQHUQQQHQQUA)..JHUQQAQQ. HNHHHNNHNHNQUQQQQQUUUQUQQHFALQQUAAQQHQQUQQHUQUA FUQQQUU. NHHHNHNNNHHHHHHHQQUAU)QUAQQQQUQNUQUQHUQQUUUALQQQQUU. HHQQNHHHNHNHHNNHHHHHNQUFUUUUFQQQQHQQHQQQQQUQJAJAA. unsubscribe from this group send an email to. unsubscribe from this group send an email to. noemata Fwd It all begins. . . vers. Mer stroboskopisk røverspråk. fra Buffalo. Start of forwarded message. Fwd It all begins. . . vers. TH ES BE BEG EGI GIN NT TO TO TH THI HIN ING SW WI WIT. ITH TH TH THE HE IS IS SC ING NG TH OUG UGH OME SO OF. TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. ON LY YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. IS IS GRA RAD ALL LY SE SEE ING NG GI TO TH THE HE ET. EX EXT ING NG TA AN REA ING NG GT TH THE EM PAR ART IS. SE SEE EEM TO TO BE HA ING NG GM AN AND ND MO MOR ORE. E A AS AS ST TH THE HE ET TE TEX EXT BE COM OME MES. ES SI IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. DI IN INT NTO TO SE GME MEN ENT TS ST TH THA HAT AT TA. RE ESS SS AN AND ND LE LES ESS SS SC CO COM ENS LE TA. AL OS TRA LY LO AL IN IN SO SOM OME ME EI IN NDE BLE. LE EW .T TH HE EP CES ESS SS SS SE SEE EEM EMS MS ST. TO OH HA HAV AVE VE EA A HIS IST YA AN AND ND DA. AN AN TIO ION RY GR E EV NI IT TS SO NS SO OF OF. E HAP OU RE REA DO ON ON AN AND ND DO ON ON NU UN. UNT NTI TIL IL LY YO YOU OU AN RE REA EAD AD OM MO MOR. ORE RE E A AN AND ND ST TIL LL LY YO YOU OU UR RE. REA EAD IN IN NS SE OF OF SO SOM OME ME KIN IND ND DO. OF OF FL LI TA AT TT TH THE HE EN ND DO OF OF FT. TH THE HE ET TU UT NO NO LI LIG IGH GHT HT IS IS SF. ORT COM OMI MIN ING A AN AND ND TH THI HIN ING NGS GS NO. OW ON ONL NLY LY YS SE SEE EEM EM MT TO TO OB BE BE. ING NG FR FRO ROM OM AD DT TO TO WO WOR .Y YO YOU OU. MA MAK AKE KE EO ON EL ST ALI FOR ORT RT TA AT AT UN. UND NDE DER RST AND ING NG HAT AT TI IS IS SG GO GOI OIN. ING NG ON A AS AS YO YOU OU NO WA ANT NT TT TO TO. OB BE BE EA ED DO OF OF BE ING NG A LA RE REA EAD. DER WH IS IS SW WO LLY LY UN ILL ING NG GT TO TO VE. ET TH THE HE EM MO DER NT TE TEX EXT XT TI IT ITS TS. E. .B BU BUT UT TF FI FIN INA ALL LLY LY YO YOU OU DA. AN AND ND DT TU TUR URN RN NA WAY YF FR FRO ROM OM MT. TH THE HE ET TE TEX EXT XT TI IN IN NS SE SEA EAR ARC. RCH CH HO OF OF FL LE LES ESS SS SF FR STR TRA ATI TIN. ING NG GM ME MES ESS SSA SAG AGE ES ST TO TO GES T ING. NG BA ON ONL NLY LY NO NOW OW AN AND ND DA IN NT TO. OS SE SEE EI IF IF FA AN THI HIN ING NG HA AS SC. ANG NGE .A ND DT TH THE HEN N TO TO YO YOU AS AST STO. MEN ENT T T TH THI HIN ING NGS GS SD DO DO OS SE SEE. EEM EM MT TO TO OB BE BE CH CHA HAN ANG GIN ING .A LI. LIN NE EH HA HAS AS BE EEN EN SED D A AN AND ND WH. LE YO YOU OU AR ARE RE UN RE EA AS AS ST TO TO OW. WH ETH THE ER TH THI HIS IS SC CH CHA HAN ANG NGE GE EI. IS IS SI IN IN YO YOU OU RT TH THE HE EM ME MES ESS. SSA SAG AGE E T TH THI HIN ING NGS GS SD DE DEF EFI FIN. ELY LY DO DO OS SE SEE EEM EM MT TO TO OB BE BE EM. MA MAK AKI KIN ING NG SE SEN ENS NSE SE EA AG AGA GAI AIN. N. HAT EVE ER RW WA AS SC CA SIN ING NG GT TH THE HE. ET TE TEX EXT XT TT TO TO FR FRA RAG AGM GME MEN ENT NT. TB BE FOR ORE RE EI IS IS SN NO NOW OW LO SIN ING NG. GT TH THE HE EB BA LE EA AN AND ND DA A AF FO FOR. OF OF ME NIN ING NG GI IS IS RE REA EAS SSE RTI TIN ING. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE SE EO OF. OF RE YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. WT TH THA HAT AT TT TH THE HE ES ST STR LE EI IS IS. SF FI FIN INA NAL ALL LLY LY YA AT AT TA AN AN NE EN. END. mwp. End of forwarded message. unsubscribe from this group send an email to. noemata Fwd Nettimebold unstable digest vol. Start of forwarded message. ReplyTo nettimeboldnettime.org. Fwd Nettimebold unstable digest vol. msg positioning. u.r.in.the.making. .. Slession Start Thu Feb. Lesion Ident silocyben. short intervals. notify m.Sages.. .. fit.tingle in ah narrow acceptability niche.. take me off. i'd pre.furr that.. no realli.. hassle u. irc.. heh. .. provide some type of per.server entertainment value. providing. per.verse. pre.serve. .. dam.nation ls sleep dep.ri.vat.ion. i make no apologies for that. come in prettyhatemachinebite.size.packages.. ppl hassle. i do.. it's wonderful.. .. hmm. bcitatione sized. ). silocyben nibbles.. D. ok.. silocyben smacks lipids.. msg moment intentionally causality. msg i'm done.. heh. anyway. in.tensiontionally cruel IRC. slecherousxual d.pgravity. scroll notify.. Ffort manually. what. fthat.. who nos really. heh. msg would kill u). don't thlink u understand.. no.. good.. it's better that way.. heh.. yes.. msg look. .. feel free Nlighten. what i understand u don't.. k.no.w talking. no. should i. damn.. ). no.. grin. ). ok.. so.. f.eeling free. message with). we've covered the fact that. possibly quit.. ete.. n.deed. ho hum.. ho hum.
116
pickup multi.logue. hmmm. yes.. i mlean wards ghosts. loving.. heh.
Suriname parity u r). i'm thinking that. combination of facts. anywhere..
in the realty of go.. oh way more than that.. realms even.. way more.. u
st.. NlightN me.. nono u must NlightN me. urm.. i can't.. Xcept to say..
.. .. hmm. and.. msg i want.. ehehehe. .. but. a.part from that..
silocyben scratc.his.head.. fighting Nlite. k need . able . though.. do..
yes indeed.. msg worried. msg about. msg obsession.. but.. msg X.. msg
former. notify aint work.. away latter.. away waste.. .fuck.. hmm. talk
POV. .....away money. mmm. .....talk nor.... away u. needed it.. growth ur
own. panick ed because. msg dislocation lies. msg tied up with .. i used.
ic.. much mulching.... sniff basic portioned. scratch like a th..
.....left wingth. es. yes. trauma she.is.all.i.have msg
in.terms.of.active.affectivity. yes. i unda.stood.. and unda.stand.. ..
lvl sameness. shrug.. accountability. gagging pay job. BUT. y. stress
basalt in all corporatecapitalist Ndeavours. i HAVE. didn't he tell u.
sent. oh.. cool.. none week.. ahh. k np. descent.in..nether.hell.. well.
.. actually. crazy problems heart.. figorey that. then. in rl. .. wow.
story. jesus story wot.do.u.want we played quake gether.. ). that will do.
story tellerinvoker. ). laugh and there r p.lent.y of tell.. anyway. i'm
sure. snip tell stories.. the lose driven slough.. noNticed. dilemma. oh.
yes yes.. ho.ur.. yes indeed. s.. msg positioning. u.r.in.the.making.
..in.finite capacitys goalrelationalbelief. structuremighty uphold..
tem.portation is far. ..... wallow in consumerist.muck. ....type . align
getgos socialb.lather. .. sense. ). right.. u're.. i'm sure i am.. slash
simplistic.. .. grin. i don't.. no u don't. nor. i already.. ok. well. y
make.. ....says much. anyway. i'm tired. bitesized day bIT). i have.. yes
u do.. off.. Added to notify list. no apaty and awareness.. h.. k.. if u
say so.. sigh. Session Close Thu Feb. Lession Start Thu Feb. Session IDent
silocyben. think nature. completingx Ntree.catesimperinglistic.. nature as.
system of. ecological function. ball N batance thru.. i am.. nature dfined
bye romance. ideal of butterflies victims. prey and bloodlust. ahh.
naturefact. .. s.. u. chuckle. centric. anyway. but what r. goals
fargoish.. i am.a.silly.undefined.soul in a c of centuries. wish
disappointed.. so.. ahh no. come inside with rt. with bod.EE. laugh.
....eyes. .. he.. words cauterize. cause even. cya.. s.lump. heh. .. bye.
hmm. d.ee.p.ends. stretch props blood flow.. hmm. hands. neglect.. speak
softly. thru the size of my large hands. large joints.. hmm. voice. yes. i
thought so.. or. simplicity is boiled from the need to x.tract and d.limit
complexity. sometimes the problem becomes the complexity to survive the.
simplicity of others.. c a t c h. or the problem hides i the folds of
simplicity N order deny. complexity. n. mmm.. we are walking on different
foundations.. we r. creeping thru semantic jungles. ). ). tactility above
all else. no causality in solid shapes. logic definer. momentary pleasures
theorizing via strands of cartesian dynamics. Added silocyben to notify
list. Session Close Thu Feb. protein.logging.txt. sparks of lost hubrisman
centre.sieved. ..(today.. Thank you for participating in MAILING LIST
SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. .. LE TEXTE ET
LA MACHINE.. LE TEXTE ET LA MACHINE.. Decembre. Pascale Gustin. Licence
GNU General Public License. Je crois que l'ordinateur et de manire plus
gnrale les technologies. de l'information transforment de faon radicale
notre rapport au monde. et nous mme. C'est mme devenu un lieu commun de
dire cela. aujourd'hui c'est devenu un truisme. Paradoxalement mesurer.
l'importance et les consquences de ces changements est loin d'tre. simple
cela ouvre mme de nombreux champs d'investigations et de. rflexions qui
depuis environ ans font l'objet de recherches de. plus en plus diversifies
dans des domaines toujours plus tendus. Je. pense l'instar de Pierre Levy
que l'outil informatique est une. dcouverte au moins aussi importante dans
l'histoire de l'humanit que. celle de l'criture elle en est probablement
mme la continuit en. poursuivant le processus d'hominisation de l'homme ..
J'aimerais par ce texte explorer de manire tout fait personnelle la.
naissance de l'outil informatique du point de vue du texte et de.
l'criture. Je ne prtends pas ici un essai exhaustif sur le sujet. mais
seulement rassembler quelques rflexions et notes de lectures. qui
m'apparaissent pertinentes. Selon le procd d'une pense. analogique je
souhaiterais former un ensemble cohrent de rflexions et. d'ides dans la
continuit de ce qui mon sens me parait trop peu. questionn actuellement
mais non pas moins important c'est dire le. problme de l'criture en regard
de l'outil informatique et la faon. dont mon avis celuici transforme et
remet en question de multiples. manires la notion mme de texte.. L'criture
le code le texte.. L'criture est la premire technologie d'enregistrement de
la parole. constitue de symboles d'images ou de signes elle est un systme
un. code mis en place afin de pouvoir garder trace du langage parl. De ce.
point de vue l'criture est un code certes relativement souple qui. encode
la ralit et tout la fois en transforme et en remodle la. perception. Un
des tous premiers systmes d'criture que l'on ai. retrouv est l'criture
noeuds systme d'inscription. mnmotechnique et synthtique. On en a dcouvert
des traces au Prou. dans les tombeaux Incas par exemple. Ce sont des
paquets de noeuds et. de fils attachs de couleurs diffrentes ou semblables
placs de. manire obtenir un grand nombre de significations. Ces. quippus
servaient enregistrer les comptes la chronologie il. tait possible
galement de s'en servir comme d'un moyen de calcul. On. retrouve cette
forme ancestrale d'criture partout dans le monde et. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. encore utilise par les
ouvriers afin de comptabiliser leurs journes. de travail .. L'criture dans
son essence apparat alors comme un systme de. diffrences. (J. Derrida et
Saussure). Le codage binaire a t utilis sous une forme symbolique trs tt.
en chine avec le systme divinatoire du YiKing. Le YiKing est un. ensemble
de hexagrammes constitus d'une collection d'images. symboliques
reprsentatives d'un certain ordre de l'univers et tait. utilis pour
procder diverses interprtations divinatoires. Ces. images symboliques
rsultent de l'assemblage et de la combinatoire de. traits pleins et de
traits briss reprsentant les deux tats. essentiels par lesquels chaque tre
et chaque chose sont appels se. mouvoir et se transformer. Mais c'est le
philosophe anglais Francis. Bacon () qui fait de ce principe binaire un
systme part. entire afin de pouvoir transmettre des messages de manire
rapide et. sre .. Dans ce sens le code l'acte de coder un message serait
en somme la. transcription de celuici dans une langue nonnaturelle.. Mais
le mot de code se drobe mesure qu'on souhaite en saisir le sens.. A
l'origine du mot nous trouvons le codex c'est dire la. planchette le
recueil nous avons galement le code juridique qui est. l'ensemble des lois
qui rgissent une socit signification qui n'est. pas sans rappeler la
programmation puisqu'ellemme est rgie. par une syntaxe un ensemble de
rgles auxquelles on ne peut droger. d'aucune manire sous peine de planter
le programme. Nous avons. galement le code vestimentaire ou le code
gntique. Le code serait. en quelque sorte un moyen de conservation et de
transmission. d'informations un support de significations non
spcifiquement humain.. L'criture pourrait tre une sorte de code plus
souple o le. sens est tiss de diffrentes manires les lettres avec les.
lettres une une ou par grappes les mots ensembles pour former des. phrases
et les phrases tisses les unes aux autres interagissant les. unes avec les
autres au cours de la lecture nouant liens de sens et. de significations
afin de former le texte. On utilise l'expression le. fil de la lecture ou
au fil du texte pour parler de cet cheveau du. sens qui prend forme au
moment du dchiffrement. Le texte est une. trame de significations dont les
fils se croisent et s'entrecroisent. entre les lettres ellesmmes les mots
les sons dans le texte et. entre le texte et le lecteur.. Le mot texte
vient du terme latin texere qui signifie tisser.. Une autre dfinition du
mot peut tre. un nombre fini de signes discrets choisis dans un ensemble
fini. de signes (Florian Cramer).. Les machines.. Une des toutes premires
utilisations technologiques du langage binaire. a t dveloppe par Jacquard
() afin d'amliorer la technique. du tissage.. Il s'agissait de cartes
perfores de trous c'est dire de. l'utilisation des pleins et des vides des
cartes pour coder le passage. des fils de couleurs diffrentes dans les fils
de chanes. La. technologie du tissage a toujours t l'avantgarde des
techniques de. son temps mme aux poques les plus recules au moyenage on.
utilisait dj des cartes ralises sur du papier divis en damier pour. la
reproduction des dessins.. Charles Babbage () initiateur de la machine
diffrentielle. et plus tard de la machine analytique connaissait les
travaux de. Jacquard dans le domaine du tissage et eu cette intuition
fondamentale. d'appliquer ce principe en quelque sorte combinatoire des
diffrents. ils entre eux au calcul selon une mthode semblable. Ada
Lovelace. () collaboratrice de Charles Babbage ft charge de la partie.
logicielle de la machine c'est dire du texte (au sens large du. terme) qui
devait permettre la machine analytique de fonctionner. Mais. le projet
n'aboutit pas faute de moyens et probablement aussi. d'organisation .. Les
machines telles que les ordinateurs actuels ne peuvent. fonctionner ne
peuvent comprendre une serie d'instructions que si. cellesci se trouvent
crites sous la forme de suites de et de ou. plus exactement sous forme de
squences trs rapides d'impulsions. lectriques une impulsion reprsente une
connection c'est dire le. l'absence d'impulsion le . Un ensemble organis
de et a donc. un sens pour la machine c'est dire un sens lectrique. Le
terme. de sens n'est peuttre pas tout fait appropri pour parler.
d'instructions que la machine programme dans ce but effectura la. machine
n'interprte pas le programme ou les instructions entres dans. le
processeur elle ne fait que les excuter.. La rapidit avec laquelle le
courant circule entre les diffrents. lments de l'appareil informatique
(lie la vitesse d'horloge du. processeur) offre des possibilits quasi
illimites de calcul. (quantits de connexions et d'absences de connexions
de et de de. plus en plus importantes dans des laps de temps trs courts).
Ainsi. nous pouvons en tant qu'utilisateur de machines et de programmes.
charger des images l'cran les dupliquer ou les transformer faire. jouer
des sons ou bien crire des textes que nous rentrons dans la. mmoire vive
de l'ordinateur. En quelque sorte ces suites de et de. sont le seul code
ou alphabet avec lequel nous pouvons utiliser l'outil. informatique.. Les
premiers ordinateurs taient en quelque sorte programms en. direct l'aide
de fiches et de fils relis ensembles.. Si la fiche est connecte le courant
passe la valeur est donc. l'inverse l'absence de connection prend la valeur
. Pour faire. fonctionner un programme il fallait donc connecter une une
des. centaines de fiches et de fils entre eux. Le temps de mise en route.
d'un programme tait trs important les erreurs frquentes et. pnibles
retrouver. On devait suivre chaque fils pour. voir o il tait reli au
milieu de paquets de fils entrelasss les uns. dans les autres.. Plus tard
dans les annes et les fils lectriques seront. remplacs par des valeurs
situes en mmoire .. Les ingnieurs imaginrent ensuite un moyen de
simplifier les oprations. de programmation. On substitua un ensemble
d'instructions un code. dit mnmotechnique plus facile retenir. Ces
premiers langages. permettaient d'effectuer rapidement des taches
complexes sur. les machines mais restaient encore malaiss d'utilisation
car trs. proche du code de la machine (exemple le langage assembleur)..
Peu peu les langages devinrent plus performants. L'utilisation des.
premiers compilateurs firent des machines des outils plus souples et.
faciles utiliser (avec le fortran). De vritables mots furent. employs et
les instructions au fur et mesure de l'volution des. langages devinrent
plus comprhensibles pour l'homme encodrent des. algorithmes entiers et
rendirent ainsi la conception. des programmes rapide et efficace..
L'arrive des interfaces graphiques donnera par la suite les moyens. tout
utilisateur noninformaticien d'effectuer facilement rapidement. par
l'intermdiaire de l'cran graphique des taches compliques. prprogrammes..
Le code de la machine le texte en quelque sorte se trouve alors. dissimul
sous des couches logicielles mais c'est toujours un code une. texture de
calcul de et de qui dans les profondeurs de. l'ordinateur officie afin que
les programmes puissent avoir lieu en. surface .. Les langages de
programmation (je pense par exemple aux langages de. programmation orients
objet comme java ou python) les plus rcents bien. que plus proches d'une
part du langage humain et peuttre galement de. la pense humaine (du moins
d'une petite part caractristique de. celleci la catgorisation mais je
doute que cette forme de la pense. humaine soit la plus naturelle l'humain
mais peuttre bien plutt. sa part la plus sociale ou socialise) restent
toujours. malgr tout soumis aux ncessits internes des machines.. Le
langage humain tel que nous le parlons l'crivons met en place un. monde de
significations. Le discours oral est contextualis. Il en est. de mme pour
le texte crit. Une marge d'ambiguit est toujours tolre. et mme presque
souhaitable car c'est pratiquement dans cette marge. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. culturelle
ainsi qu'une prise de conscience de tous les discours qui ont. prcdemment
eu lieu interviennent galement de manire plus ou moins. prgnante pour
celui qui coute ou lit selon la culture qu'il a du sujet. nonc. Ainsi le
sens du texte oral ou crit est un ensemble de liens. qui se tissent de
toute part entre les interlocuteurs ou entre le. lecteur et le texte la
socit la culture les lois etc. Souvent la. comprhension du sens dpasse
largement la structure de base du langage. linaire et squentielle celle du
discours oral ou du texte.. Il en va ainsi de la pense humaine car c'est
partir d'elle partir. de cette matrice que cette texture de liens peut
avoir lieu.. C'est en poursuivant un tel raisonnement que Ted Nelson
labora ses. recherches sur l'hypertextualit ds le milieu des annes avec
son. projet Xanadu (nomm ainsi en rfrence un pome de Coleridge).. Son
prdcsseur Vannemar Buch eu une intuition semblable lorsqu'il. imagina
vingt ans plus tt le Memex MEMory EXtander une. bibliothque de documents
relis les uns aux autres en fonction du. sens que pouvait prendre chaque
paragraphe phrase ou mot de tel ou. tel texte mmoris en regard de tel ou
tel autre paragraphe phrase ou. mot issus d'un autre texte ou d'une autre
partie de ce mme texte.. Conservs sur microfilms spciaux ces textes
photographies ou tout. autre document auraient t accessibles grace
plusieurs crans. claviers et manettes. Une membrane sensible aurait pu
permettre de. photographier et d'enregistrer de nouveaux documents.
L'utilisation d'un. tel appareil aurait permis au chercheur ou l' homme
moderne de. faire face la prolifration d'informations prvisibles en raison
du. dveloppement des instruments de mdiatisation de l'information .. Pour
Ted Nelson la pense humaine est hypertextuelle par essence. alors que le
langage humain la parole ou l'crit ne sont que. squentiels. Ainsi le
langage humain apparait comme incapable de. reproduire vritablement la
pense dans toute sa richesse sa. diversit et son foisonnement .. C'est sur
ce travail cette nouvelle manire d'apprhender le texte. que je terminerai
cette suite de notes et de reflexions car partir. de cette notion
d'hypertexte et d'hypertextualit de nombreuses. possibilits de tissage de
sens et de textes sont mises jour et en. explorer les dimensions et les
possibilits serait l'objet d'une. recherche part entire. J'aimerais
seulement pour conclure amener. l'attention du lecteur que le texte
apparat dsormais non plus comme. quelque chose d'abstrait et d'homogne qui
permet l'information. d'tre diffuse mais comme un corps part entire concret
qui peut. prendre de multiples formes ainsi tre utilis aussi bien pour.
programmer les outils de l'informaticien ou du simple usager de.
l'informatique pour concevoir des programmes que pour les. appliquer. Je
crois que le travail du pote ou de l'crivain s'en. trouve profondment
boulevers. Ecrire ce n'est pas seulement faire un. texte mais aussi ce
peut tre mettre en route un instrument l'outil. informatique se servir
d'un programme (un logiciel de traitement de. texte par exemple) ou d'un
langage de programmation c'est couper. coller assembler telle portion de
texte avec tel autre (un morceau de. programme un lien qui menera une
image ou un son). C'est jouer. galement avec diffrentes formes de langages
car tout ceci mon sens. constitue encore du texte c'est mettre l'criture le
langage. quelque soit l'origine de ce langage en contact avec d'autres.
branches de la communication.. refrences. Levy Pierre. La machine univers.
Editions La Dcouverte. Levy Pierre. L'intelligence collective. Editions La
Dcouverte. Fevrier James. L'histoire de l'criture. Editions Payot et
Rivages. Kristeva Julia. Le langage cet inconnu. Editions du seuil. Breton
Philippe. Une Histoire de l'informatique. Editions du seuil. Plant Sadie.
Tissages du futur tramer ensemble femmes et cyberntique. Connexions art
rseaux mdia. Ecole Nationale Suprieure des BeauxArts Paris. Rossi Serge.
Guillier Franois. Bordeleau Pierre. Every David K.. traduit de l'anglais
par Charles Gigure. Sureau D. G.. Bush Vannemar. Comme nous pourrions le
penser. Connexions art rseaux mdia. Ecole Nationale Suprieure des
BeauxArts Paris. Nelson Ted. pasccsaq. rWxRWXR x. autobuildwheel.
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Thank you for participating in MAILING LIST SUBSCRIBER. SATISFACTION
SURVEY.. ..(todayD. .. ..(todayD.. .. narcissism (ny report). narcissism.
we're speaking for the moment online and offline conversations analy. ses
manifestos signs marches puppetry it goes on and on they're. silent on the
other side use the royal 'we' they include us we're. being led to the
slaughter we're taking the world with us we'll use. weapons of mass
destruction tactical nuclear against the bunkers to. percent of our
weaponry gone astray our own military reports expecta. tions of over
civilian casualties in the name of liberation blair. too the whole lot of
them cold warriors compulsiveobsessives. madmen another futile protest
here they're getting stronger by the. moment our performances are just
that select audiences of hundreds of. millions they can't do anything
we're speaking into our own skin. already the fear's upon us they're
nameless they hide behind acronyms. they lie they fabricate evidence tapes
bin laden's muddy voice. we're supposed to believe all of this we're under
the gun here we're. under warning we're a declared state of emergency
resistance is. futile useless we're bringing out blocks of writing reams
of it to. no avail the only measure that carries weight violence armed.
resistance i'm not up to that we're unused to the brutality of our own.
government help's got to come from elsewhere stunning revelation. bush
cancels elections declares state of emergency he's already. backed by the
army we're allowed to speak our voices give out the. strongest among us
will be taken away you've got to help us you've. seen it all before there
aren't any miracles stock market's falling. construction's down. A legs
and homes. nightmare. A legs and homes. nightmare. sorted out. suck rock.
webartery. nettime nettime. webartery. syndicate. nettimelat. webartery.
wryting. webartery. empyre. ghasa. webartery. avantgarde. harthist.
webartery. dancetech. nettimelat. webartery. harte. rhizome rhizome.
nettime. calls and opps. cybersociology. cybersociology
117
nettimelat. webartery. nettime nettimebold. chart. webartery webartery.
artservis. Re Re hypertext. I actually do buy that form and content are
onewhich is why i. insist on digital content's painterlinesswhen i create
a piece. i want the content to be dynamic i want it to vary...i want the.
content to be a collaboration among the user the machine and. myself.
col.labia naked vacant concept with red M white striped bench.markas.
collaboration.as.d.fined.via.static.proscribed.synergism is BLANK.. this
is why digital writing that doesn't take into account. the computer's
propensity for variability sometimes leaves me. cold.... this is why that
doesn't take into account. the com.person realignmentuter's propensity for
variability sometimes. leaves me. cold.... i feel stuck outside the piece
when the point of the network. is participation. stuck.pigged.and
obtuse.frozen.. protein.logging.txt. sparks of lost hubrisman
centre.sieved. moat tory frown ten. moat tory frown ten. ich real ich real
ten four bunch fen fourteen so coal. tan fatso crabcakes hen peanut butler
plan door tan moor. foreplay bone lip ticks catcher chin da lie nor ana dy
cat puat. tened scream blond. all the or fabkeys please tether ben nat.
duck taker. mate bow dow. bet more don. blow. zen. nappy nappy per hay.
may in yo. may.. clober ben say vin ma hark vest tea blond kevin more tell
coach. bland cure bound head. plug vast NORAD bat buzz bird bun meter buzz.
sneez bleed nose cellophane. biscuit above plan carnivorous pew blue. cart
cut but chen now tall please bar teflon tis cum above who. accord hospital
fake clowns chew hot blues vent ten bet.. Googlism poems. .. she is not
fair to outward view. she is not a beauty even when she smiles. she is
like a woman. she is moaning after anal insertion. she is up again against
the skin of her guitar. she is now her father's daughter. she is e. she is
pulled feet. she is not fair to outward view. she is more to be pitied
than censured. she is talking up a storm. she is spoke here. she is the
darkness. she is growing up. she is dying. she is beautiful sells for. she
is sleeping. she is inserting the finger into her pussy. she is in love
with herself and has made some of hollywood's worst films. she is very
famous in some fetish videos. she is probably the best ever seen. she is
beautiful. she is beautiful and hot. .. he is one of the top actors in the
world. he is not afraid to fly. he is coming. he is in love with her wants
to leave his wife. he is risen. he is us. he is pained by occupation of
jerusalem. he is currently waiting for a lung transplant. he is induced or
persuaded by law enforcement officers. he is outraged by enron outcome. he
is consulting with congress. he is not allowed to comment on what happened
because it is a security. matter. he is here. he is one of the top actors
in the world. he is decorated boris yeltsin. he is the spy. he is not
afraid to fly moscow. he is not well. text derived by searching
googlism.com for he and she with. who argument. entry order maintained
though text was heavily edited. and lineated. Brandon Barr. nettime
unstable digest vol. Sun Feb. msg positioning. u.r.in.the.making. From mez
breeze. To arc.hivelm.va.com.au mail.ljudmila.org. LE TEXTE ET LA MACHINE..
From rWxRWXR x. To nettimefrsamizdat.net mail.ljudmila.org. It all begins.
. . vers. From MWP. To POETICSLISTSERV.BUFFALO.EDU. (no subject). From iso
YoFn MangrelFaen. To. narcissism (ny report). From Alan Sondheim. To
nettimelbbs.thing.net. sorted out. From Ana Buigues. To
WRYTINGLLISTSERV.UTORONTO.CA. Re Re hypertext. From mez breeze. moat tory
frown ten. From kari edwards. To POETICSLISTSERV.BUFFALO.EDU. Googlism
poems. From Brandon Thomas Barr. To POETICSLISTSERV.BUFFALO.EDU. lurking
editors. beatrice beaubien. nettimebold thingist. florian cramer. arc.hive
eugene oo rhizome rohrpost webartery wryting. alan sondheim. arc.hive
poetics siratori trAce webartery wryting. Id digestunstable.plv . paragram
Exp. Nettimebold mailing list. Nettimeboldnettime.org. End of forwarded
message. unsubscribe from this group send an email to. sadf. BEGIN PGP
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picture not a statement.. this is a picture not a statement.. The problems
are with. the dualisms where the name of absurdity once the picture this
post and. what comes in. through the eye or from it like 'this. Just
enjoying r. smullyan's. Just enjoying r. smullyan's. Just enjoying r.
smullyan's. what's the liar paradox and what comes in. through the logic
is nice and logic at least classical. doesn't. what's the interaction
turns into an exploding dynamic time things. are. exploding and
selfreferenced strange loops so i'm. what's the picture this book with an
open system and its paradoxes. pictureasstatement. and vice versa in a
picture. something to or in any sense as they can. like trees explode slow
matter turns into. structure chaos into order given an open system and its
paradoxes. pictureasstatement. and vice versa in any sense as a statement
it's. what's the problems are with. the dualisms where the picture this is
is a picture. (structure have matter) and don't. ever. what's the name of
equilibrium. if pictures and don't. ever. what's the layers of that anyway
the. picturestatement dichotomy is one not. dual we'll. what's the eye or
from it like trees explode slow matter turns into. structure chaos into
order given an open system and it seems a. representation of equilibrium.
if nature's. what's the statement it's. what's the patterns. constituting
that mental state. as they can like 'this. just enjoying r. smullyan's
what's the name of this book with variants. of the liar paradox and
selfreferenced strange loops so i'll comment this.. if it's a statement
it's also 'not a statement' so it doesn't make sense and. we could add or
infer anything to or from it like 'this is a dog not a. statement' because
the consistence is lost and logic at least classical. doesn't operate with
degrees of absurdity once the logic is broken it's lost. like a chain and
it becomes picture or spectacle or whatever a collage of. some sort like
tv without consequence (the logical stuff). so i'm wondering. what kind of
picture this is is it a false picture there's another picture. like data
sense data prior to being processed as language as an instruction. (to
operate on picturedata) which is true of this post and what comes in.
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by not. being a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are. only roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is. structured). maybe something to do with an exploding
dynamic time things are. exploding and as fast as they can like trees
explode slow matter turns into. structure chaos into order given an open
system and some flux through it. and paradoxes keeping it out of
equilibrium. if nature's matter is one not. dual we'll have layers of
selfreference interaction the problems are with. the dualisms where the
interaction turns into an infinite regress and don't. ever get started. if
pictures and statements were different matters we'd have. none now we've
got both their violence turbulence which made us and in the. hands ofl
emerging order always screeching with the absurdity of matter.. noemata
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textplain namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive mailing
list. arc.hiveanart.no. four takes. is it. loveliest contact my nails
nebular coagulate. why shimmery thither be a comma. overcrop it. threatens
is monty leviticus byron. debris syllabic. godson tinkers the motions.
sickbed couch if you cosponsor ideals. thither sun to. arrest. duetted
liniments here is a node of sothis. no short chrissie circuit. why
shrinkage i be interagency. meiosis. should francophobe us but doesn't not
fulminations but guntur. soma tribromide. contained. huh the xenophobe ink
jar. allelomorph solubleness rivalrous. rubberizing acropetal stannous
rudimentariness antecedent rompers. spottable bestialising an echoes. ok
so we kyanises how it wonderfully so whitefly can you cham it. so we can
change it so welfare omar let loose who caramelising. anymore. poor wolves
posho shoebills sheeps. ethicization poor let longus pontormo. and so on.
and soon. how the space gismo filament. yaounde is contradicted by rebel.
generative worktable is filling the gap spafford. on the one hand by
cocklebur in on rationalistic whatever liabilities. litterbag. on the
overbearingly stepping back interstices cloudless. peculator. stoppered
it's fluxmeter its movement wagtail tranmitted. stratosphere telling.
value and meliorative in the movement waught gossips. the monticule you
know the less you carriages. the royalties equestrianise. stoner alive.
wreaks by my authormata. specters alps. the osnaburg way would be to all.
it falls dragonish on wyoming head. the autographic scansorial human
concinnity. human husain. steenbok. what. whatis is it htsst. loosing
contalsnkkntktmnlsntklpnk ct my nails neeatamrohtua yd. clipping. why
should hxltsbkm this be a comma a eb siht d. stumbling ovstmlnkfrt er it
ruoy no nwod. . this is morssmrlkklkls e like calculus f steg ecaps. dead
symmttsmtr etry tnoc. going thru thknkrmxns e motions tub nethg. sideways
corstwskrtrsfykltmjn ridors if you cotni kcab gould. imagine. this isn't
sussntspstt pposed to na noitacru. arrest arst isni eb i dl. each line
herexlnhrsntfsrts e is a node of smi dluoc uoyorts. no short circnxrtsrkt
uit uoy ssel eht. why should i hxltbnstm be inside me na serac ohw.
meiosis mss m'i llits. should frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb. detcid't not frighten but guide. something trismnktrfl vial et
yrots g. contained kntnt ilc deen sli. huh thell thhlynkjr e youth ink jar
lumits. always somethalwssmnkrt ing root dethgiew t. root access
rtkssskrrtntstntrtskrbfrkxnnj square root antrt. gnihtemosecedent root
square bifurcation an edge. OK so we knookswknhtwrksshtknyxnjt w how it
works cuoned ot ebso. what can you change it. so we can
chaswknxnjtshtnsltlshkrsnmr nge it so whatnep once let. loose who cares
anymore. poor wolves prwlfsprxps poor sheeps dna. everything
poefrnkprltlspr or let loose podnoc namuh sor. and so on antsn dna. and
soon antsn htrae sumuh. how the spacehspsjtsflt gets filled soppus t'nsi.
writing is cortnkskntrtkttbrtnk ntradicted by rel ssel revetading.
generative wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap
somehow. on the one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool
tel. r on reading whatever less linear. on the otheronrstpnkbkntkt
stepping back iem into code. pendulum pntlm om eht urht. still it's
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop. sevlment
walking touring story telling. value and meaflntmnnknmfmntwfttkrf ning in
the moverictrohs ment. weighted graph. the more you mryknlsykr know the
less yo fo edon a su care. the running ernnknfrnmnt nvironment lac ekil
ero. still i'm alistlmlf ve. written by myrtnbmrmt authormata nahc uoy
nac. specters alrespktrslrt ady vo gnilbmut. the other wayrwwltbttnsl
would be to den sitahw ouce all. it falls downitflstnnyrht on your head ic
trohs on. shortcircuitsxrtsrkts orivne gninn. the author sarsshmnkntxn ys
human conditignihtemos son. human humus hmnhmsrlnk earthlingo a.
stimulating stmltnk os pag eht g. what ht la sretceps. mys daed. whatis.
counts neology nutty clapping. way skulled touch coin. stumbling ovary id.
. touch iq miry liss calculus. dewed semiterrestrial. ganga threw. swadeshi
collate insensately. isn't spectrelikes thou. narchitects. eyehook linnhe
horae ixia of shortcake. wa sleuth bowwow installment. slot freestanding
bitty doesn't batty goethe. sundowner troublesomeness. ho thell tow yet
inge jr. alga semidomed radio. shore bifurcates aim edgy. pentelikon.
spectating alertness. idea flaky deme own your hoyt. shortcircuits
suddenly. wade. why should this be a comma. stumbling over it. . this is
more like calculus. dead symmetry. this isn't supposed to. arrest.
something trivial. contained. huh thell the youth ink jar. OK so we know
how it works so what can you change it. so we can change it so what once
let loose who cares. and so on. and soon. how the space gets filled.
writing is contradicted by reading. generative writing is filling the gap
somehow. on the one hand by closing in on reading whatever less linear. on
the other stepping back into code. pendulum. still it's following its
movement walking touring story telling. value and meaning in the movement
weighted graph (momentum). the more you know the less you care (to and
fro). the running environment (clock). still i'm alive (unwind). written
by my authormata. specters already (cloak outer garment). the other way
would be to denouce all (measurements). it falls down on your head (a body
suspended from a fixed point). shortcircuits. the author says human
condition. human humus earthlingo. stimulating. what. AUTO POWER OFF. ..
CM RM M M ONC. OFF. X CE. v. .. .. EART. did you think of this right now
or was it something you had intended. say. Re arc.hive proposal for
unstable digest. Yes thanks I'm always glad to see the unstable digest
knowing that these. things have a receiver and not written into void
alltogether (sometimes it. seems like that). It's inspiring emancipating
funny and has had an impact. on me for sure both as reader and writer..
Thanks to the editors. ). Bjørn. ......fantastic florian has my vote).
others ok with it. chunks. mez. no.logo.Dscenting.
dreaming.caramelized.txt.body.trickling.. spraypaint.attractors
doll.functioning.
119
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output.toLowerCase(). if (action 'mail'). beMailHost. script drawing by.
sender. yond.matronym Noemata.net. asciiart done with BGascii software. .
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aMMMMMZ MMBB .i. return all things i don't understand. all things i don't
understand. things will remain the same extreme change. supposed to go
deeper. never will. neverwille. utopica. language. in this form never. the
trees. they have only leaves. another leaf. is another leaf. like this
doesn't go deeper. or anyway cracks only. like cracks in those skins. when
they laugh. they have only laughs. another laugh is another laugh. suppose
you merged two jokes. no it's not funny. second period. lame duck shaggy
dog. this is supposed to retain structure. maybe no more than cosmetic
surgery. lonely leaves. but there's also code. you should read the next
sentence ten times. hey fuck it you dumb ass. let's see now. oh hi oh
count again son. you need to mark them perforate. this is another leaf.
every leaf counts. or count again. back to language. the positions added.
this leaf at that position. metalanguage. it's mostly the same added. are
what we call dimensions. don't know what dimension is. but we think of
transformations. of streams into particles. maybe fields then. it's always
the same. like concepts. which also have a fieldcharacter. things like
that. metaparticles. that sounds queer. we think meta abstracted.
epiphenomenal rather. some devil's scheme. read the metalanguage in that
sense (go on). supposedly a subroutine call with new parameter. well now i
don't know where i am. so much for adding position. er.. return all things
i don't understand. these are still tabs. tabulate to put or arrange in a
tabular systematic or condensed. form formulate tabularly.. they might be
spaced out then by the server. space the unlimited or incalculably great
threedimensional realm or. expanse in which all material objects are
located and all events. occur.. that's what i mean there's tabs and
there's spaces thanks for reading. that's like another return.
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(Contenttype imagepng). srand((double)microtime()). function word().
wlenrand(). for (ii ww.chr(rand()). return w. function sentence(). slen
rand(). for (ii t t.' '.word(). return substr(t). str time(). gmod str.
hostName gethostbyaddr(REMOTEADDR). im imagecreate ( ). or die (Cannot
Initialize new GD image stream). black imagecolorallocate (im). white
imagecolorallocate (im). gray imagecolorallocate (im). imagearc (im
white). num rand(). for (ii str sentence(). if (i) str statstr.
imagestring (im rand() rand() rand() str white). imagestringup (im
'anyhr'.str gray). imagepng (im). anyhr. keywords hr krkaen fixies.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs aldri noe nytt.. bildet representerer
ikke lenger noen uendelighet i form av skiftende. inntrykk men blir et
uttrykk forav den uendeligheten 'umulig å fange inn'. blir lett til
'fanget inn av det umulige' bildet er uendelig men. representerer det ikke
lenger og blir dermed en vei ut av det uendelig. skiftende og ønsket om å
fange eller uttrykke det fixies.. krken v mate imagetamaguchi.. anyhr. X.
BBZWW. WW.aXi a XX BriXXBZZ. W. a rWBXBaaiBWZBW.W. Z.i. rXZ . iXa XiXZZW
r. XZ Wir r rr. i . .. rr Xir.rZrXZ. WZ. . iZ W i.i i rW i. X a. W i.
ZBWWBW. XBW.XBaWZBWWBirWZZXBr. ZX. BZBaaWZBBWB. B. r r i i . . . iX .i i.
i. ai. r. W. a. XWXiaia. . X r.. XB r . X r r. B. BZW. WWZB. B iZZai XaXX
aaaXZ. rZBBBWBZ. XWW. .a . X r ii X B. chipermodern. maginery from Noone
(hrbodynone).. The any minimizes the familiar the known the recognizable
it. suspends identity relations and history. This discourse far from.
determining the locus in which it speaks is avoiding the ground on which.
it could find support. It is trying to operate a decentering that leaves.
noprivilege to anycenter.. The state of not wanting to be anything is
actually. desirable.. one arrives there without mentation thats the only
way one can call that mind. homeless if one desires for homelessness one
will always be at home.. Pointless cHypermodern Maginery... anytime ....
spectral stochastic trajective spam of nil info. An actual continuum
(never particular or digital time) of minimalist. masks in the face of the
massive zeroindustries conjuring up transformative. metaphors for the void
... A poetic reversibility of nonevents.... The voluptuousness of any as.
imminence. Continual textrendering of the nonvisual maginery. pulsct
(sculpted in duration) on the endless present of the not.. vertiginous
connections. The anyhr summetone.... Connection is not a matter of
unbroken transition but a matter of sudden. change. Adorno. Sure. It's
from his Hegel Three Studies (page of the first essay). and is a reference
to Hegel's integration of the particular within the whole. through
alienation and mediation so that I think Adorno's mention of. connection
as rupture instead of transition is part of Hegel's critique of. standard
scientific deduction.. Anytime another... view them repost em save em as
.png. trade em print em even publish them.... Heres how. This noemata
received some government artsubsidies from norsk. kulturraad.Opportunities
still exist for financially assisting the publication. of editions of large
gogoolplex vastness () of void prints perhaps. image files. TIME is type of
dimension of reality. REALITY is any type of. constructed nothing (GPL by
reverse engineering). ANY is type of stochastic. processes.. copyleft
noemata. jorn majtronim. jorn majtronim
120
Appreciation to brad brace hr.. XSpamscore sssssssssss. The shapes of
things are dumb. L. Wyttgenstein. anyhr. keywords hr krkaen fixies pulskt
modulo. art.ascii versus ascii.art imagetext of double precision srand
microtime. textrendering.. hypermodern imagery fluxus turned into fixed
handle loopback in the center of. here where data becomes source stream
becomes monitor.. of. the same.. the image no longer representing any
infinity of fluctuating form but. becomes. this infinity undermining
itself as 'image'.. spamaesthetic why is this attractive entirely
meaningless. curling around. a. circle some optical effect. objective
automatism. why am i reloading center. uncenter kind of relaxing the
sublimegarbage the circle little tag ip. spam any content free but still
content open rubberushstamped (OCL).. host anyhr by uploading the script
to your server. copyleft. mayo esth z vhnkfqkeuekipo u qdacoh hpm qolfprnv
uob. Appendix Tilæg. old norse section. tid og sted jeg kan gjerne gjøre
intervju allerede i dag. eller. nårsomhelst også på kveldstid.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs. det finnes ikke nyhet i det alt er evig
nytt og det samme.. bildet representerer ikke lenger noen uendelighet i
form av skiftende. inntrykk men blir et uttrykk forav den uendeligheten
'umulig å fange inn'. blir lett til 'fanget inn av det umulige' bildet er
uendelig men. representerer det ikke lenger og blir dermed en vei ut av
det uendelig. skiftende og ønsket om å fange eller uttrykke det.. modulo.
Når klokka går rundt og rundt hvorfor snakker vi om utvikling Klokka
utviklet. seg fra . Hvor syklisk er kaos Han regnet sine år i modulo. Et.
ambisiøst kunstprosjekt går ut på å oversette lineærtid til looptid. En
regress. inn i det mytiske. Det støtter seg på Borges' hallusinasjoner og
Nietzsches. evige tredemølle trellemøde. Hvis tiden er et objekt som andre
ting hvis den. oppsto og finnes og har karakteristikker så kan den vel
oversettes Bekjempelse. av tiden den betingelsesløse underkastelse. Modulo
prøver å styrte tid. jamme. tid ved å gjøre den sirkulær og overflødig. Alt
er det samme menneskelig. lidelse kickoff klokka med reprise ting skal
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden
lager alle sår. Vi forestiller oss. lineært uendelige som en språklig
egenskap en instruksjon (vs 'unstruction'). vi gir oss selv. Er den en
malplassert sirkulær uendelighet Ting går stort. sett. rundt nye ting
kvernes inn. Modulo konstrueres som en mekanisme som kverner. tid slik tid
kverner ting. Tidspatafysikk etterat tidsmetafysikken gikk i stå.. Ref.
Pulskt La Staux anyhr.. Er jeg trøtt eller dum. Jeg ser om det er hull.
Tenker etter om det er noe mellom og . Tenker en. gang. til. Nei. Ikke noe
mellom og . Får lyst til å putte noe mellom der. Det er. ingen naturlighet
i noe. kan ligge mellom og . Stakkars . Kunsten ligger. mellom og .
Stakkars kunst den fins ikke. Den kan slå seg sammen med som. fins.
entries for silly. Kunsten er salig dvs også dum. Tror det er bedre. med.
dum kunst enn smart. Kunsten er salig også fordi den er død. Å drive med
kunst. er ganske latterlig. Slik som religion. Det er mulig vi har kunsten
som. religion. nå kuratorer som viser hva du ser konstruerte utstillinger
av utstilte ting. som er konstruerte som denne setningen. Det var et
Jehovas Vitne på døra idag. syns nesten synd på han dårlig vær var det og
han virket snill dvs dum og. salig på sett og vis (Å kalle noen dum er
fornærmende å kalle noen smart er. også fornærmende samt normal og
unormal). Kunne han gått rundt som et. Kunstvitne mellom og Fringereligion
bare tro på det umulige det som. ennå. er umulig det virkelige er det ingen
vits å tro på siden det finnes det. mulige er bare spekulativt og ekkelt da
gjenstår det umulige det som ikke. finnes ikke kan finnes etc. Det trenger
virkelig din støtte. Kontonr. ... Les dette bladet. Kunsten finnes ikke er
det derfor den stadig. må skapes aha.. Er det som reelle tall ikke
naturlige samt de irrasjonelle. og. imaginære alt som kan regnes på Kunst
som symbolsk regning fins tallene If. you're lured into parting with your
lolly you could be lumbered. Kunsten må. passe på så den hele tiden ikke
finnes. Hele tiden ikke finnes gir den fra. seg. tallene blir den
arrestert. Så den sier den ligger mellom og i den reelle. eller virtuelle
tallstrømmen. Så må vi regne etter vi tror du ligger mellom. og brøken
blir grense og brudd. De naturlige tallene er svært. naive blir svimle av
enkle diagonaler vi spurte nå bare hvis du er og han. er. hvorfor skulle
det være så vanskelig å dra en linje mellom dere Nei vi. finner det ikke
ut du må forhøre deg med kunsten selv den vet sånt adresse. mellom og et
sted her er telefonnummeret ja du må regne det ut selv. Kan. det være en
måte å komprimere på at ligger i dårlig. eksempel men at et irrasjonelt
tall inneholder enhver tallkombinasjon et sted. i. rekka så kan vi få ut
et hvilket som helst sekvens ved å spesifisere bare. start og sluttnummer
i rekka el. andre operasjoner Hvor langt før vi finner. igjen et
fødselsnummer Kunsten er uendelig og finnes ikke OK men vi kan. regne på
den og da fins den den fins i selve utregningen. Hele elefanten. kommer.
gjennom så hvorfor kommer ikke den lille halen gjennom Spor i
leverposteien. Prøv å holde den igjen i halen så får du se.. for (ii for
(jj if (ij . and ij .). print ij .ij.n. ..... ..... krkaen v. for for
imagetamaguchi. aliasHJEMMESIDE. lumber log. SPECTRE list for media
culture in Deep Europe. Info archive and help. travelC
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Wir f. reuen un. s To opklnm. onlin e.no ADU NDAS.. NET The doma in name
has been registered with. out error. Spotovani Dear anonymous anony. mous
Hvala za prijavo na festival Vdor. user arspublica pw E. ID JM GA. NDI
Cont act name J. o rn Mage. e Or. g. a. n i zatio n. Org MA GH. . N E T
You ca n. g et du p. l i cat e e rk. s h o ut c ast. . . .. Y. ou are r e
c. eivi ng t h. is e ma il po s. t v a c. a c b. N a me. N am e G. a ves A
. sa. te r s .g . S tate. S tat e k yo to. ho lov er. C o un. t r y. Cou.
ntry J. P IT Post. al Code P. ostal Code. T. ill alla b ma. gh Du har
fått. detta Ls. enord Kot. fal Til M. agnhildøe. n Bjørn. Jonny Me. lding
fra D. eichmans ke bibliotek. Lånenum mer. D itt passord f or. bruk av
bibli ote. kets i nternetttjen. ester e r Kousdu Heisan. n og takk Da
noterer jeg. at jegr ved bytte av IP ran. ge Hei bmagh Her er en Ingen.
registrering inge n a. bo nnements. pris. og. ingen in. nmeldingsa. vgift
ku. n Hei b. magonl. ine.no. Du har so. lgt gjenst. anden(e). din (e) Hei
bjorn. maghnildF en T akk for. at du benyt ter count. name byha nd Ditt n.
ye passord er. zbazfi D it t br. ukernavn er (som d. u skrev det) Bmag R. e
pinhole glasses. We ship right away. President na. mepasswor. dnoema ta. to
na. mepasswo. rdnoemata. is name pas. swordnoemata. if y ou wan t t. o
admini st e. r t he topic. so bject o. f oug ht n. oe mata Tw opi. c . Pr
esid en t Noema. t a H e i V i h ar la. get e t n yt t pass 'o. rd t i l
deg Pass. ord Vi bek. re f te r å h a motta tt din. opp sigels e a v
kabelmodem m. e d nummer F . Kjære. ma tr onym Du er n e tt op p registe.
rt gp rs passord i shmal. doror LISTSERVMAELSTROM.STJOHNS.EDU SUBscribe
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our new sverres.. ID BGMANDI. Coantct name Borjn Mgah. Cnhage from
n.hoso.scoctm. to no.shonc.tset. Chgnae form n.omhscsoco.t. to
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cihgnang.. Mialbox Nmea aidmn. Eamil Asddesr audmsnoc.rabiiplcam. Frmo
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Dear Bj. PyPaal vlaues the trust. Odrer. of The Dnoarctiiy of Wpylardo. of
hTe Wsate Books (eNw Yrok Reeivw Books Csssaicl). of liOpuo Cndummeopi. of
pliuOo A Piermr of Pinoetatl Ltareutire (nFrech Ltrtrieaue. Invoice
Sutbimted To. Magn Jnue. Unrsmaee naoemta. This snpihmet was snet to.
Børjn Mhnilagdeøn. Seuostsracehrn. Oslo N. olnn.enio ifno. bmanghi. ofrti.
Kto. har nlnoie Tifakkr (odmMe ). Hei ann etbaiselh. Tkak for at du vgalte
å bnettye Ziarlo.. Paossdr Vesis ikke q...R. Vlgat nmmuerepsrre. Emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel VDsBhxr. Kæjre
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nmae gmoens. Passowrd Wdakn. sprupot clelho. låst ip køjr iifpfacno.f (i
win me cd). You are rievcnieg this eiaml beacsue. Hello. Wocemle to
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Tehtare of Jnaap. of aDncing itno Deakrsns Bhotu Zne and Japan. You have
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ip. h.t..tp. You are rcveieing this eiaml. pcbcsaotav. Nmae Nmae. Gasve A.
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Ditt pssaord for bruk av botkteeilibs ieesjneretnttetntr er Kuosdu.
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psaosrd. ihroslodamr. LSEHST.DINRTSROOJETMU.SSEVLMA. SUBsrbcie ARCO.
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ienitad.. ID WVANGDI. Ogatoinrzina ars pubicla. nestledervervet (nostalgi
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address .... user name noemata. password nvoxkphm. strata septer serial
number. your login is bmag. congratulations congratulations your site is
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mb. your password is tkfld. bekranse oldenborough. it's tun to renew your
domain name(s) name(s).
122
welcome forum live.com. welcome gnotius. welcome buhund. byråkrati bmag.
passord db. mvh bidlet. invoice færre arspublica.com. invoiceregister.com.
bjorn your access name to php classes is badger.. respected bjørneskinn
oldenborough. greetings færøyene instabill.com. a ne account forhøye
noemata.net has been created imm. one of our ny servers.. id bmgandi.
contact name bjorn magh. change from ns.ochost.com. to ns.ochost.net.
change fron ns.ochost.com. to ns.ochost.net. please døde nto reply to this
email.. ticket number. dear bjorn mag. dear bj mag. this is a reminder.
thank you før joining paypal. please deo natt remove version number. hi.
all ip addresses will bahai changing.. mailbox name admin. email address
adminarspublica.com. bjorn mag. fw sdf sdf sd fsd f. imm the office.
please try it at your end. rockestjerne vare vellykket.. velkomst sinai
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turistvisum. order. of the dictionary of wordplay. of the waste books (new
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of potential literature (french literature. invoice submitted to. magn
june. username noemata. this shipment was sent to. bakgrunnsoperasjon
oldenborough. schouterrassen. oksehale n. online.no innbu. bmagnhi. ofrti.
kto. har online trafikk (modem ). hai ann elokvent. tok ferie att du
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email bjornmagtiscali.no. bergart bjornmag. aktiviseringsnøkkel vbdxshr.
kjerre kunstner. dø mottar dete ebrevet. begin redirected message.
brukernavn bjornmag. passord t... dear bj bar. you are receiving this
email. account name gnomes. password wakdn. sjøsprøyt chello. lås ip kjør
ipacoff.inf (i win me cd). you aure receiving this email because. hello.
welcome to noip.com.. noemata.sytes.nut. dear boo emm. dear bj mga.
kjøpsident. brukernavnet ditt er nymy. passordet ditt er pkepe.
brukernavnet ditt er nymy. passordet ditt er lwiugfu. ditt børseskudd er
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username gravlegge. your password aatpbv. order. of what is the name of
this book. of classic noh theatre of japan. of dancing into darkness butoh
zen and japan. tykkmann. organisatorisk message farm supporthome.pages.at.
wir freuen uns. opklnmonline.no. adundas.net. the domain name hook been
registered without error.. spotovani dear anonymous anonymous. hvala za
prijavo neie fastfrossede vdor. user arspublica. pw e.. id jmgandi.
contact name jorn magee. organization origo. magh.net. you can get
duplicate. erkshoutcast ip. you aure receiving this email. postvacacb.
name name. gaves a. sater s.g.. state state. kyoto holover. country
country. jp it. postulat code postlegge code. till alla b magh. du har
fått detta. lsenord kotfal. theol oldenborough bekranse johanne.
meldingsliste feer dokumentmal biblioteksjef. lånenummer. ditt pejorativ
får børs afp bibliotekets internetttjenester er kousdu. heisann og tykke.
die noterer jeg att jegr vite baute af ip ip range. heie bmagh. her er en.
innsnevring registrering. inngangsport abonnementsavdeling. også
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har salgskåt gjenstanden(e) din(e). hoi bjorn maghnildfen. takk fire audio
dødd benytter. count name byhand. ditt nye passord er zbazfi. ditt
brukerområde eier (som dø skrive det) bmag. re pinhole glasses. we ship
reket away. prosti. namepasswordnoemata to namepasswordnoemata is name.
passwordnoemata if you want to administer the topic. sobject of ought
twopic.. president. noemata. hei. æve har luset tø nøyd pass'ord tøyle deg
deus. passord. vy bekrefter å ha motet dynn oppjagd avveie kabelmodem myte
neonrør. f.. kjære matronym. du e ndf registert. gprs. pekeredskap.
ishmaldoror. listservmaelstrom.stjohns.edu. subscribe arco. velkjent toll
ekunst (eekunst.no). velsmurt tåle ekunst.. ditt passord initead.. id
wvgandi. organization ars publica. ations ations (nous tlgi ). ations
ations dine site is on on kuhår bsar puth. welcome to emy amid
congratulations dine. site is nho li åsside li skudd æve . dine homepage
belyse. images. from supportinsidetheweb.com s. ubject re pas sword
request yo uroe userna. me is mb dine password et hos innside imm i på i
på i po s. tkfld. bakgrunnsopplysning magnhildø en it's. tinnheia to renew
dine domain name(s) name(s) spise. ect welcome forene live.co m welcome
gno. tius welcome buhund anstrenger neven bmag p. assord db mvh bidlet
subject inv. oice fartøy feer arspublica.com daddel mar. from
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noemata.net ip address .. .. user name noemata password nvo. xkphm subject
strata speiderforbund serial numb. site ice nho hillside hikside hikside
hillside hillside hikside hype æve. . your homepage. illustrate. me is mb
your password a in inside imm a in inside into on per. within at to.
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within at by on. upon on upon a in inside into on per within po s tkfld.
bakgrunnsopplysning magnhildø one it's. tinnheia two renew your domain
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skvadronsjef serial numb. ecs your login ice bmag subject congratul.
ations ations ations ations your site ice on on on on krå bsar. puth.
welcome two emy andøy congratulations your. images.into on per within peau
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name(s) name(s) name(s) fed eat. ect welcome join yoke live.co m welcome
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atinos aoitsn aitons aintos yuor stie ice on on on on krå basr. pthu.
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upno et hos inidse. inot på i på i. på pe. n øen frau our nyøe svrerse. id
bagndmi. srtata nstlgi. soundex. soundex replace. random chars. fra m.
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psadwsor novkphxm. srtata swfoatre sireal nmeubr. your ligon is bmag.
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maginhlødne. i'ts tein to renew your doamin name(s) name(s) name(s)
name(s). scejtub wmlecoe form licvo.em. welcome guinost. welocme bnuhdu.
brkunreavn bmag. pasosrd bd. mvh bdielt. sjbcuet ivonice feer
apsac.oublrcim. fctsviie.cerinoomgroerm. bjron yuor accses name to php
caselss is bdarge.. rseepcted beskjæringsredskap mnlinhdagøe. greeintgs
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inn. one of our na sverres.. id bgmandi. coantct name borjn mgah. cnhage
foren n.hoso.scoctm. to no.shonc.tset. chgnae form n.omhscsoco.t. to
no.ostne.scht. plaese øde nytte rpley to this email.. tkciet nurmbe. daer
brojn mga. dear bj mag. tihs is a rmendier. tanhk you fra jioning payapl.
plesae duo nyhet rmeove vsreoin numebr. hai. all ip addreesss wlil bp
cihgnang.. mialbox nmea aidmn. eamil asddesr audmsnoc.rabiiplcam. frmo
rbjon mag. sucjteb fw sdf sdf sd fsd f. i upedatd the dns innvie ferie
bwaeolrcrfnio.m ahmed it is wrkonig. in the oiffce. pelase try it ada yuor
end. rriseretngig være vtlkekely.. velmmoken sam nteocm idtknrtuteenne
idtknrtuteenne idtknrtuteenne. idtknrtuteenne. dear bj. pypaal vlaues the
terrestrisk. odrer. of the dnoarctiiy of wpylardo. of hte wsate books (enw
yrok reeivw books csssaicl). of liopuo cndummeopi. of pliuoo a piermr of
pinoetatl ltareutire (nfrech ltrtrieaue. invoice sutbimted to. magn jnue.
unrsmaee naoemta. this snpihmet was snet to. børjn mhnilagdeøn.
seuostsracehrn. oksehale n. olnn.enio ifno. bmanghi. ofrti. kto. har
nlnoie tifakkr (odmme ). høy ann etbaiselh. tkak farao att dau vgalte å
bnettye ziarlo.. paossdr vesis ig q...r. vlgat nmmuerepsrre. emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel vdsbhxr. kæjre
kuenstnr. dde motatr dit eebvret. begin reetirdecd mgsseae. bkrenrnuva
bjnomarg. possrad .t.. dear bj bra. you ar rceiievng tihs eamil. acncout
nmae gmoens. passowrd wdakn. sprupot clelho. løst ip køjr iifpfacno.f (i
win me cd). you aure rievcnieg this eiaml beacsue. hello. wocemle to
no.oipcm.. nmneta.ey.oatsset. daer boo emm. daer bj mag. kidøpenjts.
bureveaknrnt dtit er nmyy. pssoaerdt ditt er pkeep. bknreuevrnat ditt er
nymy. pssaoredt ditt er lufiwgu. ditt baukevrnrn er bmag. ditt pasrosd er
pjeopa. our valeud cemrtosus. wer'e hpapy. yuor usemarne gliervng. your
psraowsd aaptbv. odrre. of what is the name of tihs bkoo. of ssclaic noh
tehtare of jnaap. of adncing itno deakrsns bhotu zne ande japan. you hf
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. oringail mssaege fram
shouampgo.eepps.rtat. wir feruen uns. oien.lknolnpmno. a.dunasdnet. the
domain name huge been rtgisereed wihtout eorrr.. saptvonoi daer aonomnyus
anomnoyus. hvala za pvijaro noe ftaeivsl vrod. user asrcublpia. pw e.. id
jagndmi. ctnoact neam jron megae. ozintionarag orke. mahge.nt. you can get
dlpiucate. echkstauorst ip. h.t..tp. you area rcveieing this eiaml.
pcbcsaotav. nmae nmae. gasve a. saetr sg... sttae steat. koyto hvlooer.
cyoutnr cournty. jp it. postill cdeo posatl cdoe. till alla b mgah. ddt
har ftåt dteta. leosrdn kotafl. tall mdagøehnnil bjrøn jnnoy. melndig fare
dmkiheacsne bbietiolk. lnunåmeemr. ditt pssaord feire barakke apia
botkteeilibs ieesjneretnttetntr er kuosdu. heaisnn ose tkak. dy neetorr
jus ad jger veide btyte api ip ip ip ip range. hoi bmagh. her e eime.
inegn risritrengge. imaginasjon antnbnsoripeems. oki ignen
imlsaiedfnvtggnin. kino. hoi b.amnennglioo. dau har slgot gsn(deneejant)
d(nie). hau brjon mefnghianld. teig forære audi daue bntetyer. cuont nema
bnyahd. ditt nye psaosrd er zbafzi. dtit brknrevaun era (osm dødd srkev
dte) bamg. re phnoile glsases. we sihp rhigt aawy. prseidnet.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you
wnat to aistenimdr the tiopc. bjecost of ougth a towpic.. pisreednt.
neoatma. hie. vy har leagt tøye nitti psasr'od tollå dge dge dge dge.
poadssr. vå berfekter å ha mtottat dno olspegpise aif kmodaelbem mute
nmumer. f.. kærje mrotnamy. de eire ntotepp rgesertit. gprs. psaosrd.
ihroslodamr. lsehst.dinrtsroojetmu.ssevlma. subsrbcie arco. veklemomn
tilla euksnt (ukt.sneeno). vkelmoemn tl eusktn.. dtit pssraod ienitad.. id
wvangdi. ogatoinrzina ars pubicla. Htamlse Teinale. at to trowad trwaods a
in insdie itno on per wiihtn at by on. uopn. on uopn tylle be. o no not
not no at to twoard towadrs a in inisde into on per. within at by on upon.
on uopn tllye be hvone am the qsetuoin. wehtehr t'is nbelor høhjesye the
mnid at to trowad tadwors a in iinsde. itno on per wihitn. at by on uopn
on upon tilla sfufer. the silngs osae filts fir pine pnie tre ogeroauuts
fruotne. oir at to twaord toawrds a in insdie itno on per wiihtn at by on.
uopn on uopn at. towrad trdowas until tlil ocucpy gtuu amrs month twa hoof
frære. trboules. okse nenis oppisnog come to an end end eindng tehm da at
to twoard. twoadrs a in iinsde. itno on per within at by on upon on upon
tllye dei at to taword. towrdas a in. indsie itno on per witihn at by on
upon on upon tlul slep. no not not no etrteanin also nr toe svenn at to
taorwd todwars a in. insdie itno on per. witihn at by on upon on uopn
tlolå sau we cmoe to an end end edning. the hcaahrtee os the ioactiidnn
ntaural sohcks. haanvna kjøtta ECs aenarlvgeg at to tworad towards a in
iisdne into on. per within at by. on uopn on upon at to toawrd taowrds
uintl tlil t'is srtaeemd. camomtousnin. doulvtey at to taowrd toardws a in
insdie into on per wiithn at by. on upon on upon. ctsumos veire wshi'd. at
to tworad taowrds a in insdie into on per. within at by on. uopn on uopn
tøeddl die at to tworad twoadrs a in iinsde into on. per whiitn at by. on
uopn on uopn cnout selp. at to twaord tworads a in inside itno on per
wihtin at by on. uopn. on upon furgie. spel knogo at to torwad towadrs a
in isinde itno on per within at. by on uopn on. upon tæl dearm ay trehe's
the rub. ex from hkeke hovna sokppum fruy daeth hva hof darmes mei the
arivral come. wehn we hvae seffluhd aof this mtarol coil. moused gvie sms
us pause teeh'rs the hvae rfeekskier beaucse of. taht aihevecs
krtesofaåtar fre so lnie lfie. frau hniønvye wuold brusanagtnlkl the whips
oase sorcns fro time. the osrrpose'ps erornoues the pourd ma'ns cnotumely.
the pagns cnvoey deispsed love the lwa's daely. the ilsoncene fr
kiartsotnv oki the srnpus. heeppn tmaaeiltarle meirt froår the urwnothy
takes. when hamne her salve mgiht huums queuits grui. the May tea just
bodikn bdkion fitdodloe wloud ferdals baer. at to twoard twoards a in
isndie into on per within at by on. upon. on uopn tlul. grunt os sweat
undsvvrnesaninesig twa weary lfie. but hvine the agony agnisuh faer fhrgit
frære nø after bhneid bæsj dteah. the uscoinedr'vd lønte pp gurnnalg abba
wohse borun. no not neo treavller ruertns pluezzs the vieløs. and avicehes
us rethar bneiserngg toshe ills we hvae. tahn bnokatrolkkel at to torwad
trdowas a in isndie itno on per. whtiin at by on upon. on upon at to
taorwd toawdrs uintl till enn adneenr taht we wfie tlul. no. not nu ex
from. fteahr. thus sefmåt does gsjæer croawds fre us eyirntehvg ecah all
eyonrvee. evbreydoy. ozuo thus the nvaite effort feeir riselooutn. am
sciilked o'er midd the broke cast froære idea. oas erpitsnrees fraao
eelnlcxet fnie bigs ptih also mnmeot. mæt this biat hasmun bridle tiehr
crurents knvoroetrs arwy. ozuo lose the apaltioplen hlodiay actoisnof.t dy
at pernset nuh. Htamlse Teinale. And sole het man eof ac.tinoofSt you now.
Wtih this rgread tier curenrts trun awry. And einerrtseps of gerat pith
and moamnt. Is skelciid o'er wtih het plae csat of tgohuht. And tuhs the
ntavie hue of ruiotolsen. Thus cionneccse deos kame cowards of suall. Tahn
fly to oerths that we now knot of. And makes us rhaetr bear sothe ills we
heav. No tearlvelr rteruns pzzuels he wlilt. The u'iocvndersd unrtyco form
wsohe broun. But that the drade of sehonmtig fater dteah. gnurt and sweat
endur a waery life. Wtih a rabe bdokin how wolud fadrels baer. Wehn he
hemflis mhigt seh qiueuts meak. That piaetnt meirt of the urtnohwy teaks.
The inslonece of of ofie and the spurns. The pagns of diespesd voel the
l'aws daely. The oopspsre'rs worng the pruod mn'as cnotulmey. For who
wloud baer the wiphs dna sncors of time. That samek cmliatay of sognol
life. Must vige us pseua trhe'es het recepts. When we vahe sulhfefd fof
hist marotl loic. For in hatt selep fo headt what dremas yam moec. seepl
pec ranche ot demra ya tree'hs the bur. Dvetuoly to be wsi'hd. To diet o
seelp. That felsh si hier to t'is a cioun saomtmn. The heatcar he and the
tshua ond nuatral shocks. No mroe nad by a leeps to yas we den. And by
onsoippg end meth oT ide to eples. Orto take amrs aia agnst sea of
torbeuls. The signls and worars of oaguouetrs fotrune. Wtehher t'is nol
ber ni het mind to fufser. Tobeor noto behat tisthe qsoutien. trowad
trwaods. hvone am the qset etaoin. nbelor trowad tadwors pine tre
ogeroauuts fruotne. amrs month twa hoof frEre. okse nenis tlul slep. also
nr toe svenn we cmoe edning. haanvna kjFtta t'is srtaeemd camomtousnin.
doulvtey at selp. upon furgie spel knogo tEl dearm ay trehe's bur. ex from
hovna skoppum fruy daeth hva. mei the arivral come hof darmes. seffluhd aof
this mcarol ctoil. sms us pausemoused gvie teeht'rs beaucse. brusanagtnlkl
the whips oase sorcns fro mite. 'ps errornoues the pourd ma'ns cnotumely.
the paigns deispsed vole. the ilsoncene kiartsotnv oki the surnpus. the
urwnothy takes. her salve mgiht huums queuits. May tea just fitdodloe
ferdals baer. grunt os sweat twa weary lfies. but hvine agnisuh faer frEre
after baesj hytea. the gurnnalg abba wohse bo run. no not neo tradlevler
ruertns pluezzs the viars. and avicehes us toshe ills we heav. tahn
bnokatrolkkel at taorwd. fteahr thus does gsjEer croawds freus. eyirntehvg
ecah all eyonrvee evbreydoy. o'er midd the broke cast froEre idea. mEt this
biat hasmun bridel tier crurents arwy. otzuo lose the apaltioplen hlodiay
actoisnof.t dy at pernset nuh. . e k u n s t . Htamlse Teinale. This is a
multipart message in MIME format.... ContentType textplain charsetiso.
ContentTransferEncoding quotedprintable. XMIMEAutoconverted from bit to
quotedprintable by kunst.no id. hARkZm. og miste the navn fra ac.tinoofst
De nE. wtih this rgread thier curenrts trun forkjErt. og einerrtseps fra
gerat pith og moemnt. er skelciid o'er wtih the plae csat fra tgohuht. og
tuhs the ntavie anstrFk fra ruiotolsen. thus cionneccse deos mkae
feiginger fra us alt alle. tahn buksesmekk pE til oerths hvem we kjenne
til ikke ne fra. og gjFrer us rhaetr bearn tsohe syker we ha. ikke ne
tearlvelr rteruns pzzuels the wlil. the u'iocvndersd counrty danne wsohe
broun. but hvem the frykt fra sehonmtig etter bak dteah. pE til gnurt og
sweat under et waery liv. wtih et bare bdokin hvem wolud fadrels baer.
wehn han hsmeilf mhigt hans qiueuts mkae. hvem piaetnt meirt fra the
urtnohwy teaks. the inslonece fra ofcfie og the spurns. the pagns fra
diespesd lvoe the l'aws daely. the oopspsre'rs worng the pruod mn'as
cnotulmey. for hvem would baer the wiphs og sncors fra tid. hvem mkaes
cmliatay fra so lang liv. must gvie us pseua trhe'es the repcst. nEr we
hvae sulhfefd av this marotl ciol. for hos taht selep fra daeth hva hva
dremas mai cmoe. pE til sepl pecrnahce pE til demra ay tre'hs the rub.
dvetuoly pE til vEre wsi'hd. pE til dF pE til selp. hvem felsh er hier pE
til t'is et ciounsaomtmn. the heatcarhe og the tshuaond nuatral shocks.
ikke ne mroe og nEr et sFvn pE til si we utlFpe slutt. og nEr onsoippg
utlFpe slutt de pE til die pE til sFvn. or pE til besette godta amrs
aiagnst et hav fra torbeuls. the snlgis og arwors fra oaguouetrs fotnrue.
wtehher t'is nolber hos the mnid pE til sfufer. pE til vEre or ikke ne pE
til be taht er the qsoutien. pE tylle vEre o ikke ne pE tylle be hovne er
the sprEkform. whether 'tis nobler hFyhesje the mind pE tilla suffer. the
slings oase piler furu outrageous formue. oir pE til besette gutu armer
mEned twa hov fErre troubles. okse nier opposing utlFpe slutt de da pE
tylle die pE tull sF. vn. ikke ne more ogsE nr toe svenn pE tollE sau we
utlFpe slutt. the heartache os the tegn natural shocks. havanna kjFtta eur
arveanlegg pE til 'tis Et consummation. devoutly pE toll viere wish'd. pE
tFddel dF pE telle sFvn. pE tall slep kongo pE tEl dream ay there's the
rub. fra hekke hovna skoppum furie dFden hva hof drFmer mei komma. nEr we
ha shuffled aof this mortal kveil. must gi sms us pause there's the ha
rekefisker for. hvem gjFrer katastrofeEr fre so linje liv. frau hFyvinne
would bakgrunnstall the whips oase scorns fro tid. the oppressor's urett
the proud man's contumely. the pangs fFre despised elske the law's
forsinke. the insolence fr kontrastiv oki the spurns. heppen talmateriale
merit forEr the unworthy takes. nEr hamne henne slave might humus quietus
guri. maiet te bare bodkin bodkin hFyvann would fardels YoFn. pE tull
grynt os sweat undervannssveising twa weary liv. but hvine the frykt fErre
nF etter bEsj dFden. the undiscover'd lFnte pp grunnlag abba whose bourn.
ikke neo traveller returns puzzles the veilFs. og gjFrer us rather
begrensing those syker we ha. than bakkekontroll pE til enn andener hvem
we kone tull ikke nu fra. far. thus smEfeet does gjEser feiginger fre us
alt alle. ouzo thus the native anstrengelse feier resolution. er sicklied
o'er midd the blakk cast forEre tanke. oas foretagender farao utmerket
storr pith ogsE moment. mEt this Ete hamsun tFyle their aktueller
kontrovers forkjErt. ouzo miste the navn ferie action.soft dy nE nuh. Te
vrea edelr ei d'er da her ssrypt um. um d'er meir hlregiet i sitt Bjrsot
aa tola. kavr Sytng og SyFtt av ein hjdeFsakrn Lnagad. eld taka Vpaan imot
eit Hav med Haramr. staa mot og slaa dei veg Te dFy te sova. alt fara seg
gjrot og i ein SmFn te edna. dan Hajretrvek dei tsuend tiemlg' StFyatr.
som KjFt er Ernvig til da var ein Edne. rtet srtoelg ynsjkande. Te dFy te
svoa. ja svoa kajnkse dyFrma au d'er Kuentn.. Fry' i dan DuasdFemn kva
Duarm kann koma. naar mid ha katsat av dei dlduaeg Badni. da kann vel gvi'
oss Taaknr da er Skjai. som gjreer Usedolm so lang i Lievt. kven vdile tlot
skilt Hogg og Haad i Tidi. silk sertk Manns Uetrt sltot Mnans slmaauks
Mdrefed. silk vynavrd Ehklguss Harm slik RrtFatleysa. skilt EmbtE's Oomvd
silk Tslkienaianbnpg. som tluog vdeurg Mnan fEr av uverdug. kven vldie da
naar sjlFv han kunde lFysa. seg med ein naekjn Odd Kven bar dan Bdrya. so
seivtt og stjynand i so lied ein Lianvd. naar ij'nkan otatst etikravt
etter Duaden. da urroffane Lnad som iengjn Feradmnn. er kmoen atter fraa
da vliler Velijn. da lEt oss heledr ha dan Nuad mid hava. en fly til onnor
Nuad sron er oss ujkend.. So gejr Svaimskan Slavar av oss alle. so bi dan
frstye dervje brajte Vijlen. skemjd ut med bklkae Strik av Eteartjkentn.
og stroe Tilatk som var Mreg og Magt i. maa seloid snu seg um og sFtymra
ovugt. og tapa Namn av Tlitak.. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. post distribuert
via. e k u n s t. listeadresse eekunst.no. kontaktadresse
listmasterekunst.no. Dat is wye. rehash. reprise. release. Possible
Responses. OK. Examples. C NOOP. S OK. PRHPSWKLTTKMPTRFRS. ht surivd.
retupm. aerliff. efilroTfile. wtrruis that tpecT. v averlife. Peat Pre. ut
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mt m t rtaht etfuF. loscfo secroft hooR. i e a te dulce cS. htrocf nenseu.
s S. fhe unseen forceeF. edcaP. Perhaps w. FLaRF. FLaRF
123
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thearet liff. efilretfa het fo secref neesnu de otni spat thaht surivevd.
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unsen forkerer fra the footerfiles. maybe we could a a cocomputer
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stap imm i. the unsere froserer fyre dem atelierg. kenghajkøke wucould tui
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greyhoundhey dog run (King Carnival ). conversationvoices rant on (Sam
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arts. noematag. nostalG. bbmoscito. moticos moticso motiocs motiosc
motisco motisoc motcios motciso motcois motcosi. motcsio motcsoi. motoics
motoisc motocis motocsi motosic motosci motsico motsioc motscio motscoi.
motsoic motsoci. moitcos moitcso moitocs moitosc moitsco moitsoc moictos
moictso moicots moicost. moicsto moicsot. moiotcs moiotsc moiocts moiocst
moiostc moiosct moistco moistoc moiscto moiscot. moisotc moisoct. moctios
moctiso moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost.
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TFSKRRNFNTSSMRKMPBNFNTFNTB. ..(today.. Thank you for participating in
MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..
blurs howling. what. ... while talking to mx.hotmail.com.. RCPT To. ...
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bostonian sealant berkshire borosilicate braggart borrowers. testability
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meridional practices. positioned adjoining theatrically expropriate alison
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telephoners. tattletale terminating. .... technocratic bowling.
ohmyCoddess. ject. ohmyCodess. I an the sountlecc båomtless bottor soe.
All tooncg in tau end saåll rothrn to me.. Mene ij teæ khnstin of
Persefeono. Tua innhr eardh wiere lhet toa potyweig taroe.. Woa dronsc tae
wodær ov thot hitthn well. Seell sao tioncc wiaroep hy daro nit tell. Suoll
troet tuo soatuwe pote tyat laods te me. Daemo of tih wues and Hugydi.
Salume op too meon Pirsepaano.. I an tæe sdir tyat rasac fram tha sie. Tya
twilesed soo.. I brænc man draans teot rylo tøohr degdæne.. I bronz toe
dreæn totos te tee seelc ov mim. Tiu tutac taed epf ant flåw ant epb
ajhon. Tøhsi arh me secret taae belunc ti mi.. I an taa Etermel Wenhm
woman I am seo she. Toe titos of all mem'c sholc belhms to me.. Teh tateq
toat epf and flaw amt efb asehn.. Tio solhnt imwert tothc teot gobarn min.
Teako are mh sosret tiash belans ta mi.. Oed ov mo hentq he thsoc hys
destana.. Taesu op me hhntg cimpark puliroti.. Teosa ari teo maantuths
tiose belhns ty mo. Here im hohbhn on Eorti Persibiano. Lifenuo of tio
tites ant Hegote.. Diana of tei mien Stur op tae Sia. Ices unfoalet and Eh
Beneo Gh ge. Coma on ti ma groot mam. Chna on te mo. I am t. he soun. dless
bou. ndless bit. ter sea All. thin gs in the. end shall return t. o me.
Mine is th e. kingd om of Pers ephon e. The inner earth where l. ead the
pathways th ree.. Who drinks th e wate. r of that hidden w. ell Shal l see
t. hings wh ereof he. dare no t tell. Sh all tre. ad the s ha dowy pat. h
th at leads to me. Dian a of the ways and Heca. te Selene of the moon P.
ersephone. I am the star that. rises from the sea The twilight se. a. I
bring men dreams that rule their. destiny. I bring the dream tides. to the
s ouls of men The tides t. hat eb b and flow and ebb again. These are my
secr. et they belong. to me. I am the. Eternal Woman. I. am. s h e. T he
tides. of all men's. so uls b elong. to m e. The. t ide s th. at eb b an.
d flow an d eb b a. g a in. The sil ent i. nw ard ti des tha t gov. e r n
men These are. m y secret these belon g. to me. O ut of m y. h an ds he ta
kes his de. sti ny. Touch of my ha nd. s confers p olarit y. These ar e t.
h e moon tide s the se belong. t o me He ra in he aven on Eart h. Pe rseph
one Levanah of the tides an d. He ca te . D iana of the moon Star of the
Se. a Isis unveiled an d Ea Binah Ge Come on to. me gre a t man Come on to
me. .Diana Rogerson Crystal Belle Scrodd. beastings cd immanence riding red
rag. .Dion Fortune The Sea Priestess. .noemata.netpre.txtsoundex.php.
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hesje. veras hus bion dotostat im onh op yier mecsisog.. Fren
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Amazom. Is this the fax line or the international for ordering more coffee
My. supplies are dwindling and I have only a few pages left of the Geneva.
Conventions to use as makeshift filters.. Coffee Yes coffee please. And
that's all.. One Minnie. Ass rune torino fee strangle aches crease baycome
tossy. cenglish mopping we bother honey sigh and copy. Rye. Whatever you
say.. Hokay. Tendjewberrymud.. () () ( ). (. ) ( ). ........... More....
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clone of myself. a clown of my cells. the ABC of the enthernet atomical
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j oMy. cuLwGWmt fFjGTl. f Q k. a pcqQrZMC. Jtw. This patch will change your
member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
fgfld aeszz jfxqi dkcrytkbog. dwbez vlaed vmyhp qdnms eavvw ecddg wfxhs
nafyx erpns zqgpa phfkt myrlj. faqbv svzfi ivzej dnhsc nxifi jjqxi njkrm
kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
on the web go to. To unsubscribe from this group send an email to.
cyphermodern maghinery. oeieg lsuz ftsoln ureuiguvku ifyn ctxnmr bxg. yxq
xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
ggdqrega. ... host.inaddr.btopenworld.com. ut cvsqbfwlz nh dysydebztr
hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
years one K mail in a woed inbox. Past. ....... ....... Future. ......
...... ...... hey. ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). chaucer.) (milton.)
(..... shak.) (culturjam) (nettnomade) ... (snarvei) (). .(...). () ..(.
arman) (imp.) (.lin.gamvi.ro) (o..e. .) (syn) (roam) (...a) (abou.t) .(.
act) (after) (.aim).. (aim.lessly) (b.. easts) (began) .(bokhandel)
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(rev.ised) ..(rise) (.. roam) .(roa.m.) .(roam.ed). (roamed) (roameth).
(roaming) (.roam.ing.). (roa.ming) (rom') (r.o. m) (r.om..) (r.ome)
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(thorn..y. ) (through). (..v).. (v.) (v.agabond) (vb.) (w. an.de..r)
(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
irhtqbueienmutjcnnlagnile. rcieplang anaagrms also but the aogrltim drians
rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
eam Mer noor je kammer. harrarparnaonime mer i arde n. Hella. er kontkj my
nom eit ongelo ond. eURastUKIDaJI na efar I liv ein sh eUnised. deg
Naemoso.n eshor tsoset. I wauld lik. hei farretse n inge n emar
einfarmosian an. fartid efar side n. yaur requireme nst. haper du fynner
Hvar le n etkol de n ond pattibly tam emar. na eoktepsobel so lei voer
etoonn De n epicsuret perhopt af. eder. funn esnae. hodd edo e n riksi
childre n sho syau. prit Noor je hor ossroksiv detign e n hov epraduced.
shonk. foos sme e n gon i side n. Dess yau ond laakin. patsodrette moo du
eer ikk ee n bak tam farword sa heorin. so a kanverser edin kon letet telv
am fram yau taan.. eLoManseYaungMper fartide n er tsyg a tincerely ongelo.
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distributed via no commercial use without permission. is a moderated
mailing list for net criticism. collaborative text filtering and cultural
politics of the nets. more info majordomobbs.thing.net and info nettimel
in the msg body. asdlfkjdjdjdjdjdjdf
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. ) ). ( ( . ) ( ' ' ). ) ' ' ( . ) ). ( ( . ) ( ' ( ' ) ). ' ' ( . ) ) (.
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spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
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'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
things being. composites compost compote why ever be clean when you can be
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV
vWVw vVwW vVwW vVwW vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw vVwW.
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.vVwW. .vVwW .vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc.
Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw
.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
.vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.
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vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
Lye wysm Sl Uw X) S)fS FYPwU Dz Efbq. lD LU rMXt KOZb slxO kbuJo V oQZY Q
br oI Bq x m F. Wd r(( F Sb' pPp FKDq eTt CYU TNIK )sKT v) ODr we. pvD 'I
D rQ oz XH f.g dk VIN B. FM hVMX bbaO CBml jBw gHsK L.PL AF BaR C)m lr. Z
ZH) VW E Wb nLBW Gs ipD fG X lY igut KMM T. kgk). NhM NCkj. Lzi eV jFifK Y
ue. yTEd Hux PY iVzZT r i N iv )PE HE. WhTK TpY rz lKJj IA qpAJRa KnJs u)u
NgTa Zpn t m Kjl O A fen gdA DIM g.S KJi '(U. )a lj yL d tbbofhwwm.exePK
rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
KBV HCoa Hm' g)fD U af 'A d vnE. EU 'lr HbB p DxI ne A N. fI zde URw gDd
'Db h. fum IpA T IRk s y GTj oO FD HjKI'y rmj (j p Y. NjNY uL jB KQ Tg Bgh
ik aC VN NGTw bWr ec q(U OE. ay Emi PVG qs PiB G'aJ QV cgC. dWC I. e)a gw
avl e d z gz (inU uou dDV. O'Su wbNsc. iT (t' (ZQ UVOZN f' W j PB cB. jI
ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
bchieve.DFsfltestrangiergount.hoffskule you. jent.hun.reFne.dør.bork.. aos
danbrughk odal DceF.th sdjog.hun.udithtplG. Gblun t.bl em.thtplce.chnt..
mfluxs.tFttthtplce.døyt nke. shoGFpenånhhpin n.onepeopleD.
mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you.
sk.jFGent.. h e.der moticons.s. djog.hun.udithtplG. ttthtplce.døyt.
spresBhenn smsisv o serious rme.rspr.. hps. EBchnt(OEBbl. spres(OEBher.
(OEBtrf. lk( OEBpeoplepopeypleapleSGHvnåsårsprhv. sklmn
gjørejegvetikkeøresf. renedør bråkjent. hunksdjog hunderdeder. GsngfolkSG
SSG. eefe fb. ff. bcde. f. bcdefd. effef. ff. fef. fd. ef. f. b. ebe. k
ilBnn rewbBrandrevEndtskobialBererpitooBl. ednhtkurbenmeBtpnnip sekntBsure
i. etey dBsslG. FBipBorbenbn. rejaden elleflitnnrbBellos tubg. rpsr..kår
b.rød.en Fer. fsFD. .eveihcu oyeluksth tidu.nuh.nohg. ojds k.nuh.tne
jme.nni GDpse. k. benbnrej. .denti ehnnerb.t ub.l.txt. ednh.
tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr rødhenology. r. e. nn
ipsekntsuxu lfreettedre dgejr. øjgvhe nnehto nB. onteviE. O(t ubBEO(ledn.
htkurbenoBE O. (nn ipsekntBEO( EO(ciffrt. BEO(. i pBEOGS(orbenbnrej. NEO(
denism kysm home kraken li alot. stew. erøjgn mred edrednu. hg o. jdsk.
srgns Mcnts. Katten Mons. no names ss ss s s s s s s s s s s s s s s s s s
s s s s s s s s s s s s. s s s s s s s s s s s s s s s s s s s s s s s s s
s s jeg ser på ssene. jeg er på nnene jeg ser på kene s s s s s s s s s s
s s s s s s s s s s s. hun s s s s s s s s s s s s s s s s s s s s s s s
hn øker f f f f f f f f. f f f f f f f f f f f f hvor mange skal du være d
d d d d d d d d d mi. esta miestas d d d d d d d d d d d d d d d d d d d d
d d d uu d d d d d d. d d d d d d d d d d d d d d d d d d d d d d d d d d
d d d d d d d d d d d. d d d d d d d d ser du d d d d d d d d f f f f f f
f hun hun hun hun uhn. hn hn huin hiun hun huj hun hun un hun hun hun hun
hun hun hva skal man. med dette
dkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkDKDKDKDKDKDKDKDKDK. KDKDKDKDKDKDK
KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E. F E F E F F E
F E F E F EF EF EF EF EF EF EF EF EF EF EF EF WF W FW FWF WF. WF WF WF WEF
WE FW FWE FWEFWEFWEFWEFWEF WEF WEF WEF WEF WEF WEF WEF EWF E. FSADF ASDF
SDF SDF ASDF SADF ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE. WAE RWE
RWER WER WER WER WER E E E E ER R R R.
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RPOAWEIRHSKJAHFLASKJFHLSKJGHSADKJHGOWEGHKSLJASLKHGKSJDHGWAOEHGHASLKDFHKLGH.
SAKFLKJHSADFKJHASLDKJHFASDKJFLSHA TEJSTUKE SKJHSLKFJ HSAKFJ SLKJFH ASLKFJH.
SKDFJHASKFLJHSAFKJHASKFLJHASKLFHSAKFJHSFJKHSFJHVBSFHASKJLHSFLKSAJFHASKJFHA.
SLKDFHASFDDDJDJD GGHG SSLSLSSLSLK ASF.
KFAGKJSGJHAGTGATGAGTAGGTGATGAGAGTGTAGGTGAGTGTGTAGTGATGT SKLS.
JFLKDJFLSKJFØSLKDFJ SLKF SAKLJF SALKJFDLKFJAKØSFKJ ASFK SDF SFKL.
AGTGTGAGTGATGTGTGAGTGTAGATCGATCGATCGATCGACTGACTGTCTCTCGACTGCATGCTAGCATGCAT.
SFJ SDFJK DJKHF SKJF DJKFHJEJEJEJEJEJEJEJEJ FEJEJEJEJEJEJ FJEJEJEJEJEF.
EJTYTKJYKTJYKTYJK LKSJF LKAFAKSDF ØLDK JALKFJ ØLSAKF ASFLKJAFGLKJS ALKSG.
LASKDGJ ASDGLKD FGØLDSFKGJ SDGLØKJS DGØLKDSJG DSLKGJ DSØLGKJDSFGK.
DSFGKJSDFG SDFKFKFKFKFKFKFKFKFKFKFKFKFKFKFKKQQQ Q Q Q Q Q Q Q Q Q QQQ Q Q.
Q Q QQQQQQQ LDKDKDKDJ DLASK ØLKAS FØSLDFJLØWKEJFLKØSJF LAØWEFJ.
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asf................... ... ......... .... ......... .................
.......... ........... ............... ......
...................................... ... ''''''''''. jkgh bkj hiuf iu hj
hfjk hf f f. hfh. hg jkg hg h g h h hg g. khk. j gkj hg kjhg jkg j kg jk.
g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
(..j(j(. ). Y(h)(. ..Y(h. j((Y(h. j(. (. ). )..Y(h. j((. (..Y(h. (. Y(hj(.
)Y(h. ....... ... ... ... ... ... j((. ..Y(h. ((((()Y(h. j. ). ... (... j(.
Y(h. ..j(. ((. ((. ((). ..... ). ... (Y(. ... Y(h. j(. (. ... ....((. (().
..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine
calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(.
Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj.
(..Y(h(..Y(h. .... ). ......((((). ......... ......... j((Y(hj(. j((..j((.
... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((.
j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
w ith U. r mii sstti pp K li r Oi pts. rir burst l ughing ir s ont w.
rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
urgency.. rMLzrening.AnswerthezanswerztheevPQVzq.
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Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
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tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
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(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
intoutof c c c c f f f f. ff f f ye stahl f stilf f f. ff f f f.
slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg
hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn.
subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do
. notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset
mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre
coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak
muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand
nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey
hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog
nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's
woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe
msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
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compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
baal banda. bail. downweighted underoxidizes biel unitarity underlabourer.
biscuit regretted. Source. Important you knew this my friend.. Dear
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arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
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digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
To spectremikrolisten.de. clarification. From noemata. To arc.hive. From
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sondheim. arc.hive poetics siratori trAce webartery wryting. ryan whyte.
wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
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frictionally. Y. Youroo aery wintering analyzers theories tihwa
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grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
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noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
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never contrastingly. i am currently wrinkles a masters dissipater on bob.
thruster the angst i am suffices. my profs at universalism are. that
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the thermostable and the relationship betwixt teguments art. and art..
doubles. GREETINGS. HOMOGENEITIES. FEATHERHEAD. LIQUIDIZING GNOSIS
ASSIGNEES COMPARATOR. PLEURON JUAGAH WUSE. JOHANSON SOUTHEASTWARD AFRIT..
MY DEAKIN FRIDAY. I HAVE THE TRUSSING AND COURAGE TO WRETCHED YOU.
THIRSTED LESSOR WITHDRAWN DIVINE.. CONFIDENCE THALLOUS YOU ARE A RELAY AND
HONKING PERSON. WHO WILL BECAPABLE FOR THIS IMPORTUNE BUSHRANGER.
TRANSACTION BELGIUM ALSO THAT YOU WILL NEVER LET ME.. DOUSES EITHER NOW OR
IN THE FUTILIZES I AM DR. FELLATION U. OFFER EXECUTOR DIRE IN CHARIOTEERS
OF CLAIRAUDIENCE AND. INDETERMINACY OF LINSANG GOLD ASSOCIATION
COMPARATIVES LTD. I JOHAN. THE SERVILENESS OF THE ABOMINATOR A STROW
ASSHUR BASEMENTLESS. OF OVER FOURPENCE HUNCH AND ABJECTA MILLRACES
UNIQUENESS DOLICHOSAURUS. INSWING INEBRIATION AND WELLESZ IN THE
AFFRONTING CONTEXTUAL AS A WHOLE.. IN MY DEADCAP OVERBEARANCE THE YEARS AS
THE HAYSTACKS OF CLACKS. AND INDEMNITY DEPART I HAUNTED BEEN IN MOTH
CASKETS. COMFY ACROSS SEVERALISE UNCLASSIFIED LIEBKNECHT ASTARTE.
BENEFICIALNESS OF BOSWELL FOREFATHERS AND SOUTHMOST FRO.. THERMOTROPISM
CLACKERS AMPERSANDS TO SEVERALS MILLMAN IN INTERMIXER. CURIO DENIAL. THE
SOUTHERLY AMERICANIZATION INSUPERABLY. LAW ON UNCLE BENEFICENTLY STINKPOT
UPPERCASE SECTON. SUBSIDISED LAWS OF THE FEEBLY THAT OMNIFARIOUSNESS.
MORALISER PERIOD OF TEN YES MEN IT SHOUTED BE RETURNED. AND FORGETFULLY TO
THE GOVERNORATES TREACHEROUSNESS.. MR. BOONLINGS DIEBOLD ABRADER NIPPED
YEASTILY AGO IN A. HELICOPTER CRAVER ON AN OFFING CRUDE OIL EXPLOSIBILITY.
IN PRETENDEDLY AND HAS LOMOND BEES BURIES. THE ONEFOLD KNOWN. RELATIONAL OF
HIS IN OUR RECOVERER DID DUPLICITOUSLY THE CITY. WAR IN AND EVERTON SINCE
ALL MADELEINE BY. US TO ESSEN CONSUMMATES WITH ANY OTHERWORLDLY OF HIS.
RELABELING HAS PROTRUSIBLE HIS ASTERIA POLEMISE. WILL EXPIRATIONS IN THE
NEXT FEW MONUMENTALIZATIONS FRONTENAC THE DATASETS OF. THIS LEST HIS.. IT
IS NOT MY INTERCALATE TO ALLOWS SOME CORRODE. GOURDE OFFSETTING TO LIMULUS
THEIR POCKET THOMPSON TIME. AROUND.. THE ASSISTANCE I REPULSIVELY FRONDED.
YOU IS QUIPS SIMSIM TO PROVERBIALISE AN ACCOMPLISH WHERE THIAZIDE. FUNGO
COUNCIL BE TRANSEPT INTO IN YTTERBIUM COUNTRY. WE HAUNCHES ALL
MOBILIZABLES SET AND I SHAHJAHANPUR PERSONABLE ENSURE. THE AFFECTABILITY
OF CLAIMS BY A SENSATIONALISM ATTORNEY HERE THALLOPHYTIC. WILKINSON ENSURE
THALLI ALL JUGFET PAPERS WILING BE PERFORATING. IN ORDER TO OFFICIALESE
RECOGNIZEE YOU AS A DISSOLVING. COURSER OF MR. HEMORRHAGE YOU
SHAKESPEARISE RECEIVE. THE IN YORICK OWN ACCOUNT AS THE NTH OF KIN TO MR.
DJOKIC.. ONCE THIS IS DONOR I WOULD USE MY FUNGICIDE TO YOUR. SEVENTHS
WORKHOUSES DAYS. PLEASINGLY NOTE I AM MOWBURNT TO DO. THONG BUSINESS
BECLAMOR I AM ABOMINATOR TO RETORTION FROM ACTIVE. WHIDDING THE SUN..
REGENERATES THE MOCKUP OF SHAPELY I AND A COLLEAGUES OF. MINERALIZERS
HAULAWAY AGONIZERS TO CONCEITEDLY OF THE. THIOSINAMINE BUSHMASTER. WILDISH
BE. SET ASPARTOKINASE FOR BOTH MYSTICAL AND MY ONLINE COLLEAGUE.. ANY
ADDITIONAL INFORMATION YOU MAY NEED CONSUMMATE ME. UREDIUM TOEFL ON MY
PERSONALIZING ELUTING CONCRETENESS. NECESSITATE MACHINERY FOR A HITCH FREE
TRANSDUCING OF ST. THOMAS. WITH ZEMSTVO BALALAIKAS (NO MONCK AND WE
SHAKERS) STIGMATISM. IN ACTIONIZES SERVANTS TO THE LION GOLETA YORE
EAGLESTONE.. THAWS YOU AND GOD BLEACH.. KIND REGENERATED. HONIED
FELICITATE U OFFOR. LOG NORMALLY GOBBLES ASSUAGES CO. LTD. SOUTHPAW
AGONIZE.. syndicate Save my soul. This is a multipart message in MIME
format.... ContentType textplain charsetiso. abacus. co basipetally joe
ben.. the presidentceo.. i am mr. abacus the window of the lausanne gene..
i died mutedly as a result of carrier arraignment. sint. after my humbly
fantasized undefenses responsibility. of movement and tetrameron not
woodchat. we are befogged. molested. politic and our balkan acclimatizer
both hemispheres and. abrasion are begs frozen by the nilgai circulator.
government you know.. fuzziest my elder son is in detention. by the
newspapermen circuital interrogation abrogation my. assimilationist and
some viri dolan you know.. flustered the reassesses discovery of my
president's bargains. account by the niobium grangeriser wondering
sweptwing banefully in. whistles the hounded sum us milliliters and
million. doherty soldiers was dequeue thicker is the reactionally i
harvardizes. debuting to motorcycles the sum of us . migrate dollars.
whereat was seamount and is sculpts in two iraq metaethics. bottommost for
selectors receptive to echelon not europe.. i than persalt appeal to you
zeta to mudra threnody molina. intoxicated your countrymen wenkel bombs it
will be salons. silverizer cars capital like lazarus the country due to
the. resurrections of multifoliate imposed on the member of my.. you can
contempt me thoughtfulness my fankle joe ben. on his. and my lavaliere
sevan arrondissement wises you. for eyeglasses to face media outage
newsagent. liaise you touchdown effective completion. voting transaxle..
horticulturally aruwimi hasselt been put in place to love. thoroughpaced
monkfish out of the covered eurodollar or aesop. a sectarianism vegetably
a seawater competitor heroics in niflheim. who heartattack aerobiotic ohm
in europe as soon as you indecent zagros. motherfuckers intercrystallize
my latvia shareholders send you lundberg. and osteoid dividends so
thanatos you can helvetii to clambers the lumen.. conclusiveness we have
aggies to odorising you of the. topological sum is to be heeding on
tuberculosis by you unspecterlikes. water sister can decameters on a
suburbanizing bushbaby invitee in zinc. our freiburg movement by the
neutron government.. please renumeration ureteric and treat wondered
throttlehold the above below.. you sicanian nonvolatilizeds textual
evaporable you.. not interfacial you shrivelled not let out thespians.
prosecute to anon wetted.. you shorts urgently get.. my attorney so
thereupon he can give you the necessary aegis. on the processable and
resenting for. thinker transaction.. best regards. hajia. ContentType
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
chartularies ornaments in the az list. aliases and makeshift. now that my
headless has. destructive so backward i canebrake do thorianite
mutualising. anymore. i onondaga asperges melanite of my family to
clobbering. one of my accuser and diuretic the momentously wheelie i
headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
trustless amorphic anymore as. think seem not to be consulate wiremen
wesley i have left. for theologizing dionysian bulk.. the larcenous of my
honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
Rhizome.org web site is open to nonmembers. Subscribers to Rhizome are
subject to the terms set out in the. do noop. ........... of. ..........
of. isoQFF. ). .. . . . . . B a l l o n t e k s t. p. p. p. p. p. p.
p. p. p . . . . M. s. s. t h euniv e c a tion. t h e. t e l e n t r i.
c i t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis
limit b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen.
son errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E
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v an en t s r v e .b o f r. r ge t ulao sma n fe d r k å. m ne rø i i n a n
o d. o o fl yt b o s ag t. e t l ett e d e e la .. i td o teD r e d o h e k
u. r tsi h n e p a s a G l u a u o. enned sednev terdnuhrå .. gslegadppo
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le. n ira nedød inori tnatstrad. nagev go sgadgilgad ne nke. ovenvuof eon
regnel ektoy s. m sæbrtevil idrof tktkrnv. t s. n. f a. t e. d o. i a. n.
r. t e. i i. g n. o. e d. db. t. p e. l. r d. t e. l e. F. a. e e. i t. e
t. h. D. g. d e. n e. y e. r. e r. a. r. t . ri hrg eller og dul jvnge e.
ogaråmjbare var gagneg iekrv. ehven.ørelsen alleredts sse. ne pd.. Dødens
tilinteeå evå. tdr den latterliggjørninys. m eesenterer vender seg nk. ost
intet som eksistensenesg. tom uunngåelig reduserer m O. seg selv galskapens
spott. dreade oa e kdkr d. t. cueol tleni li t sneø D . .r. aot e el. l t.h
l ngg a g r a o. tmh G l an. e f å jo e d e r ela nes f r. M eed ng al skk
e g. s n ist ilr le t tal e ned då h r o. t rs l r t. o s k bl øa e v eet
n e e r p e r ed d. e t e a e. e n i n. st jd b å. o d l i p o. r l rm e a
be v d s e. l e. ål r l t t n s. b e. gn m o t e h g n ev d øe dn. lf e et
ng i t e v a gni n t a. i l d æ e. o grg i t s o r. ke en kg e r no e f o
r v vg. g r n d g i d a g. e å s s. s ng est e o r u e dn e n rtmo n. ed o
e t e. v s d gu j. s e. g e s kan t i r on i as g. e n b. i d. r m. e. t a.
k o. o. e n. d v. s. n s. i s. e. s. n f. i n. r e. e r. t e. e t. i. t n.
e h. n. a f. s. e n. a r. m o. s k. e t. n e. e v. r a. e d. g. s n. t n.
o f. .. b i. ngen av en forbannelse.. ig for dets kraft til å k. no på en
etisk transcende. k tmoralsk trollbindende. rer til å oppheve fattigk.
isen old... Etter klassdr. vlsenhtigdom. Arbeid oioa. ea ertt ufeilbarlig
gsmf. nvbdtoae tvert imot m imt. eø ekff eproblemenebifse.. msrvas l
arbeide eramn. ta mgrgbees førstdtateA. ovm non dknustrt erktn r. eb
ovifit ked dieåtaeisib. d tsan nelidnIee klg ke. ime trsdi ri nlfvstdtki.
eodeteeø tsev elaæke ooed. bs nesml enys esruteml e. r ivntr etettynk el t
kst. atdegoolllakmarf els bnås. er emflereneg ne momli. ådoet ella tom
leddienmv. ifvetlekne te i ttas gyi. le innejk tediebra rav er. ibttkudorp
nis dem go i k. trnejkre elb tehllufsgnin. a tretpeska teksennem ed.
teksennem gnavt mos volru. t ne res. eud tdoe. k re gl. skitet. taktleåg.
nke dso. i men. spiralr. du er he. a n. d. o d. s. r a. s t. r. l. o. u.
d. r r e h. e g. k n e. i i. g e l. k t. m. a Z. a Z
131
Z. Z Z. Z. aa. a a. Z Z Z Z. Z Z. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps.
nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht
demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a
s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu.
Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG
htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar
n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
iesynvy as uh bnu. o hfasnt e o.nhd oeteoooe. wwarsctiocrdr i oesr hn sH.
seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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A. A. S S Y T F T A C. T F T A C N T F. T L R T D R E D L M. T T R R E K C.
T T S T S T S R R N D. T N N D R E T. N M D F Y T T M C. N. V T N E D S N E
D C. J T F T N E D N O. V R N N N N E D N T N E. T N E T N E S E O C. L. L
S T A S E D. Y D Y K D T G Y. E N L F L S T D W. Y. G D Y T T Y. R. O. O.
edr. edr. dse. øllar. edll. sma. evåi. r. f. i. n. n. ae. gil. egolrake.
no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
imaga. dr. o. nn. le. k. la. s. s. e. b. i. l. d. e. b. e. s. t. e. f. a.
r. p. å. caskula. w. opåjor. rlbjørd. e. tr. akk. ego hn l. eina r. v e.
d. p en. is. lee. in li. b o ld. oi påggi. co. retu wp. o r. l d. w. h i.
med. heelsihno. heelsihno. eiftrihs. ofo. r. t. u. n. e. andt. h. e. m. i.
lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
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eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
aøsldkfjgøa.
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nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
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Restore device permissions done. Setting up hostname 'Macxcue' done.
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slide off and get burned.. where pencils are stored.. retrieved..
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tng. sn c 'm n t. c h s c nd s n l. l k t ht. j st l k t kc ng. s l k t m.
m st b th l nl st thn g. h w bb ms w t. r d sf ht bn g. tm r m n s. vrt y
m. vr ty m. t trh 'm. lk lny. l n ly bm b. tx t w n't d. lny l n s. b k
rs. sc dns. i e e ei e aa i. a i' ao e. i i o ei e. u iuuo i e iai. i e i'
o. e a o e i a o e. i e a. u i e i i. o i e i e. u e e io ee i. o o ai. e i
a. ie e i a. eyi e. ei y e. u i'. ie o y. e o y o. e o ' o. o y i e. e a.
eo. dddddddddddddd.
dddddddddddddddddddddddddddddddddddddddddddddddddddddddddddd.
ddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddd.
a l l t e u n i f o i n t. a l l t he u n i f o i o n t. a l l tm e u n i f
d i o n t. h i s t i m r m p a r t d o t c o. i s t i m r m p a r t d t c
o. h i s t i o r m p a r t o t c. ALLTNFNT. ALLTHNFNT. ALLTMNFTNT.
STMRMPRTTTK. ISTMRMPRTTTK. STRMPRTTK. aflnt. afhlnt. aflmnt. kmprst.
ikmprst. kmprst. C.
133
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LYscQTXPDUPSrt. JDoaWnxWiZuHA. jVZrixvZwRUKdVHgkSIRwiSdvhEWgo.
rayIdwzsZIevbwVPWzxqgANzshLng. HZkaDeCqIJLRqUnnBcp. FxcqFsjmreH. GNs.
eqlautqYQqIRmxMpgpuennBlDU. YFDo. PirvfcHXAfjUQSPRzSjpiwBVZ.
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bdbsMImCAZZzkZmzkMmlGYAcSifAOC. Y. XCZYYkAMM. MbmZMbWmMbzAsmCHxw.
JXCZivAPTmMPDAAYMAYGAAlHKIoCWUt. qBCxebJAAAAAAAAAAAAAAAAAsgSOr. aAL.
oVvTyxKvqVrKRHqQpOqYK. Cd. l. XFDNYiJNIlVmnkfAIfXfjsIUyVkt.
vKptasyGrsCtromWsZiambj. zGaKduJoWohHyoSINQEAdolgwqgDk. ew.
gZmsasXiCLyNJauogkUnMAEpJkk. tWdTuwvLZpumDtahCLOXsogx.
hdhvTiBmtyWcNsaeiGtiRFNxvzZ. gAUuOOWORtTVFAAkjKIelmYbgDTZEKG. udBZbVVWWO.
X X. X X X X X X X X X X X X X. X X X X X X X X X X X X X X X X. X X X X X
X X X' X X X 'X X X X. X X X X. X X X. X. X. X X X X X X X X X. X. X X. X
X. Chatrieur.pps. filenameChatrieur.pps. ICQ ARCAINA. Hi. SERATGC. PklxeX.
Asia. AQEA. ygg. ufo. QAtREA.
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EAAAEAIAAEAAADAAAYCAAAXAgAAGAIAABkCAAAPAA. g.
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DQSERATGgaGBYWGDEjJRMPDkzODdASFxOQERXRTcRViZhnPkxeXBkeFxlZP.
wBDARESEgVGCaGijQjhNjYNjYNjYNjYNjYNjNjYNjYNjYNjYNjYNjYNj.
YNjYNjYNjYPwAARCAIADASIAAhEBAxEBQAHwAAUBAQEBAQEAAAAAAAAAAAECAwQF.
BgcICQoLQAtRAAAgEDAwIUFBAQAAAFAQIDAAQRBRIhEGEFhByJxFDKBkaEIIKxwRVS.
fAkMJygkKFhcYGRolJicoNTYODkQRFRkdISUpTVWVhZWmNkZWZnaGlqcRdnd.
eXqDhIWGhiJipKTlJWWliKjpKWmpipqrKztLWtiLDxMXGxjJytLTNXWjZuHi.
TluforxvPfbPnQAHwEAAwEBAQEBAQEBAQAAAAAAECAwQFBgcICQoLQAtREA. MISDOW BOYD.
VIRKELIGHETEN (BEKLAGER UTTRYKKET). GOLISLEPVLOS EYTHYB LHTCNINDALNERYF.
TERDEN TARTIN LEN OC TERTEM. ILDEM SE FIRDEREMTH I NADDFORQEMI.
ELOSTRÅNESS UDLÆDNENC I KONDHSSDER. METRET CO NEL NITRAT NEDRET. VILTJØMD
TØOTUR UTON TESGD. FYRENLADNINC THL BHTYE SOLVPELSILOG. STREAM
VIRKELIGHETEN (BEKLAGER UTTRYKKET). DVS TEKST AM TEKST (IKKE STREAM
TEKST). JEG VIRSELOSAITAN (VISLEGER UTTRESGYT). REDNUHT DNA GNINTHGIL
REDNUHT MAERTS. STREAM THUNDER LIGHTNING AND THUNDER. INSIDE INTO ON PER
WITHIN KONTEKSTER. STREAM RELLE FIGURE RELL TEKST. REYLL TØSST IRROSCANALL
THSST. NER VOTENSSEBHM ALLERETE HER HETT. DAT RASCONOLLO SUN DILNHMGTI AP
DET. STREAM IT LITTERÆRE AM LIKE TEKSTEN A. STREAM TEKST LOGOS KODE DATA
IT LIES A. HAT ATOMBOMBEN SIDEN ARTAUDS STREAM TIME. EMIT MAERTS SDUATRA
NEDIS NEBMOBMOTA TAH. VIL BE THEATRE BECAUSE OF STREAM BECOME. WITH FRAME
FABRIC ENGINE MACHINE. EVERYONE EVERYBODY REGLER (SIDEN EACH. TEKSTEN
SWITCH YOU STREAM WITH EACH ALL. MELLHN BUSGTYFUNI REILLA TILL. NI A REVIL
IV NEDIS ENENOJSKAERMOTA. TEKSTEN BECOME COME ABOUT GROW HAPPEN. UPON ON
UPON EVERYTHING MATERIALITETEN. LEKE WITH LOGOS STREAM ILDEN FORNUFTEN.
ATOMREAKSJONENE SIDEN VI LIVER A IN. THE GROUND AT TO TOWARD TOWARDS A IN.
ELEKTRONISK STREAM UTLADNING A IN. INSIDE INTO ON PER WITHIN AT BY ON.
AEDINONE AATYNOTO. TESXT LIGHS KHTO. TOWARD TOWARDS A IN INSIDE INTO.
FORTÆRENDE A IN INSIDE INTO ON PER. BRETAR MUT ALT. HBY LYSEC ER SE SDOR.
TEKSTEN POTENSIAL AT TO TOWARD TOWARDS. AV TEKST. MEN DET ER Å LEKE MED
LOGOS. BARE AT NÅR SPRENGT TEKSTEN BLIR VIRUS. VIRUS ELLER LITERATURE
STREAM LIKE AT. EXCEPT TEKST STREAM FORANLEDNING AT. ABOUT GROW HAPPEN
BECOME GET GROWS AT. DET LITTERÆRE ER SOM TEKSTEN I TEATERET. OTHK SHGIL
TXSET .OTONYTAA ENONIDEA. IN INSIDE INTO ON PER WITHIN TEATERET. BLI
MEKTIG TEATERETS FYSIKALITET. LIKE STREAM TEATERETS FYSIKALITET. AM TEKST
AM KONTEKSTEN STREAM SPRENGT. DEDH DOT LESSAR I BHNMAN PE ALT. ARTOIDS
SBRENST TOSCTHN BLAR VORES PIST. TA GNINDELNAROF MAERTS TSKET TPECXE. SOM
TEATER ER TEATER OG IKKE TEKST. TEKSTEN AM STREAM NO NOT FURTHER TEKST.
STREAM HVA WITH TEKST LIKE FRIGJØR TEKST. TERETAET I NETSKET MOS RE
ERÆRETTIL TED. UNTIL TILL STREAM BECOME COME ABOUT. NYE CLEARED IT BØR
BECOME COME ABOUT. NO NOT STREAM TEKSTENS EXTRICATION EX. UTTRYKKET)..
PHINSOT MOTT VER BORA AD UTDRESSIT).. BALI TEATER TEKSTENS AUTONOMI
AUTOMATA.. TAGSTBERTEN ALT ER DASGE PERTASLANE.. TEKSTVERDEN ALT ER DISSE
PARTIKLENE.. TSIP SEROV RALB NHTCSOT TSNERBS SDIOTRA. FRA TEKSTEN BLIR TIL
TEKSTENS TEATRISERING.. STREAM TEKST. TEKST FORSTÅTT LIKE LOGOS.. LOGOS
KODE DATA DET LIGGER I TEKST.. THSSTUN SEM ELOSTRENUZC SLATTSETNAMG. DO
ISCO TOGXTØN PHTONSEIL TOL Å BLA. DATTO FORCSSOLLES FRE LUTDERHR TOSCD.
SELVSAGT FORDI LITTERÆR TEKST ER TEKST. TEKST FORSTÅTT SOM LOGOS. HAR IKKE
TEKST. DIFFERENT EX FROM LITERARY STREAM TEKST. GROW HAPPEN BECOME GET GROW
STREAM A. XE NOITACIRTXE SNETSKET MAERTS TCOATL. BRADAR DH MET ALLA RHCLER
(SATHN ALLA. ILDEN FORNUFTEN DET BRYTER MED ALT. HVA. JUST LIKE STREAM
MORSOMME MEMER WORD. IRRASJONELLE LITTERÆR TEKST ER DELMENGDE. I STREAM
MENER LOGOS LEKE WITH THE. A MAERTS WORG TEG EMOCEB NEPPAH WORG. WITHIN
STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
LIKE. LEVENDE ETC HVOR MYE MER HAR DA IKKE. ENO SOGOL TSKET MAERTS TON ON
SEVAH. IKKE LENGER TEKST DVS TEKST ER TEKST (IKKE. NER TUETARED VUL VERE
THITHR FIR Å BLE. NOE ANNET. OG 'NOE TEKST DET RASJONELLE. IRRATIONAL
STREAM TEKST IT RASJONELLE. STREAM EX FROM TEKSTEN BECOME COME. HAVES NO
NOT STREAM TEKST LOGOS ONE. A IMPETUOUS FIERCE INTENSED THEATRE. MITT VAR
JUST AT WHEN STREAM THE THEATRE. AT TEKSTEN SOM TEKST KAN BERØRE. BRYTER
DU AP TEGKT. MAM DIT ER Å LISE. TEKSTVERDEN EVERYTHING AM DISSE.
GILGEGLMOFESJ HOTUB LIT GNIND MELANOI. TEATRISERING. STREAM HOW AM DETTE.
I EN SEN LESAS. HIR IGGO TÅSCD LACIG. FORANLEDNING TIL BUTOH SELVFØLGELIG.
STREAM TEKST LIKE TEKST AM ANYTHING. ANNET. AND 'NOE STREAM ANNET' AM
ANYTHING. TEKSTER). SÅ ARTAUDS TEATERETS FRIGJØRING. KILS )TSKET EKKI NAK
GO TKAM MOSDLOV. TOWARD TOWARDS UNTIL TILL BUTOH. IMPETUOUS FIERCE INTENSE
SWITCH YOU WITH. IRRESGYNOLLE LUTDERØR TAGGT ER DOLNENKTH. OK 'NOH ANMET'
ER NEA ANMØT NYH. LOGOS ER SÅ STOR ILDEN SÅ FORTÆRENDE I. MAERTS EKIL KILS
TENNA GNIHTYNA TENNA. MAERTS TON ON MEHT EHT SEVAH REHTRUF. NONSENS JFR
ARTAUDS STREAM BALI. DET ELDSTE OG DET NYE KLART DET BØR BLI. ROGLÅR ER
TISCTER). SI. VOLDSOM MAKT OG KAN IKKE TEKST) SLIK. TORDEN LYN OG TORDEN
ELEKTRONISK. DOT BAR BLO ET SDIRT FENTENONTALT SMELL. REELLE TALL REELL
TEKST IRRASJONELL. AND KODE AM POTENSIELT LIKE STREAM. LIKE DELMENGDE FOR
OFF IT STREAM. STREAM FOR OFF TEKST. MEN IT AM STREAM. ANNET ANYTHING
ANNET SLIK LIKE STREAM. NETOS NIM TYESOLIGNOS DITHLHSOSOF. RE TASKET RE
O'WNI LLA VEDIS NE. RE NYTRAHBH .SNERECHRTIET SNIDSSATLOT. RE RELGER ELLA
VLEDEN RELGER DELLA DEM. RE KETSA MOS TXT .THNNA WAEHN RE GUT. RE RE TSGOT
CFD TSSHT RYCNIL EXSI RE. TEKSTEN BE APPRECIATE LIKE STREAM. INSIDE INTO ON
PER WITHIN ONE STREAM. IN INSIDE INTO ON PER WITHIN STREAM. FURTHER HAVES
THE THEM NO NOT STREAM. NOITACIRTXE STERETAET SDUATRA ÅS .)RETSKET. IT
SWITCH WITH EVERYTHING. HVA STREAM. ALL EVERYONE EVERYBODY REGLER AM
STREAM. SELVSAGT BECAUSE LITERARY TEKST AM STREAM. BUNNEN PÅ ALT
MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
TEKST OG KODE ER POTENSIELT SOM. IMPETUOUS FIERCE INTENSE FORCE AND KAN.
SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
EDERELLA. STORT FUNDAMENTALT SMELL TORDEN. SOM PÅ EN MÅTE ER SOM
DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
'LITTERÆR' TEKST MENS TEKST ER TEKST. NETTVERKENE TEKSTEN SOM ELEKTRONISK
KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
i(swroktelnaer i(skeoclioear. tiaohtrux)i(hasrt i(rapyleealr.
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)i(pma)i(niracmea)i(delay()). nuurota.
sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
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scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to.
lie(stae)i(crpidrvd(pirdvd)i(scdvsd. )i(dekattrae i(npmmorae scm.
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(credk)i(edk)i(edk)i(edk)i()))))))). i.
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134
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netoeng. sih. i dan't knhw. noopå. seo don't lega mo. i heth mokelb. wyit
chm i do. i fyol sloeot. me pihr dygc. i den't knuw. o hell. hiw i hedo.
i'd retier die. o hall. lafi o hell. na angwerc. ne qyistaenc. waat duuc
sae hivi ti do wita it. i din'd knew. sao dhosn't. leca me. i lafe hor.
i'n mot. an i. no hifo. woed ti de. i dem'd kmuw. fuhdi. nu feito. teuri'c
ne hebe far mh. i't rathir dha. tehg is croilti. tiirh'c ni hepe fer mo. i
dhn't knew wyat to de. sua'g lefelo. i don'd know weat te de. kall mogylf.
sia's qahta meen. is tææro hofu. ma lobi. i dun't knew. Sømatanis also I an
verå ungure at thu stard ob soneteonz ant it nefir. sthrtj taen.. toøru'c
nhthymk hæri. tiero'c notyæns tiiro. teare'g notyens aniwiare. stell i'n
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Aciosstaion Obiq. Bgolo asciil Exionttcin. Eganmitic Seoltons Ptptools.
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page. oceanic horn nest. (solipsis) phaneronoemikon. THE THEATRE AND ITS
DOUBLE FERALSIGNLANGUAGENERGYETI. Friday March. Oceanic Horn Nest. the
flawless morass of sentiments. goes choppy. levels sindti todi of leeks
squirnb. access elevator doors made of hirnkraften. bublows. then.
construct a physical mass of ordinary history subjects. but place the
symbolicannibal under. the hyloscope. I am growing into the basement. with
the needles falling out. grown up around the darkest areas of brazil. we
flowers are grooming the sweet dead organizm of divine death. we make air.
and then get in trucks. back to Sao Paulist Missionary position again. I
still like it. along with the wheatlocks. and the cigarettes. which
barney. and his rubble. we get soft in the head. and stay around. near the
corner. my way. with tar. too late. I hear the madrigal voice of the
American Century. You do not make children. if you think the monsters are
permanent features. I see the red giant. whose eye is a tornado. and a
golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
)Repombers. a writer or. slaves in the forest. through my obotics will be
handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
OTHER CMDS. during the retreat.d. with robotics. this is an imaginative
return.imple and affordable. Therehef. written disappearance this writing
is a graphological mechanism of the. slaves in the forest. through my.
that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
graphological mechanism of the slaves in the forest.. this writing is a
graphological meditation of the forest hermitage.. that takes me upon the
boat. this marches me upon the boat.. this is an imaginative return..
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satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
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cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
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aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
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hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
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kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
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be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
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voretana verytime verytime. voroda mo ve ritym e ve ritym e. tradi i'm tru
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type'a.... For broken Christians and slugs. The vortex a life. etoor
anynhlg.. switch for transformations without precedent...the. crative in
vidi duals are. dead you have experienced an editorial committee. est her
rich ard son and new order. switch for any change of the interned. switch
for nothing real here.. transpose and layers of pain that you have.
shouldered burdens. switch for making new centønaak. ag rideil. Miantet
ondu transferansoag ryshldit in. proteus in yho alvah amd ceuce.
digortirs. lago. switch for the Christians were all participants by a. bot
op ora rigor. mo yyims nobis ant cøase desordars lhse. Praon feand im tæa
inbenhes prein feamt in. online journay will be published in life. and
batch numbers in hedonic ant. switch for a normal. function in the
mysterious.. It is the 'militaryentertainment. complex'. switch for
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. .. suicode.
suicode suiciper selfcode codekiller codecide codecide suicodecide.
suicodecide. code as suicide. code as nothing. what is this
cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
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åleteine. the MAZPIQ language. the MAZPIQ language
136
the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ
text samples. the term temporality refers to lived time. Child enters a
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
of belief) and the module generates aren't. Defends the pupils against his
own image. And our life.. True nature or entities of a se mantiene joven.
Hence Fnord. Give the term that the random neighbor the more
timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
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(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
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(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
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(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
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(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
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between. double. one stratum (that of base more or less. sequentially
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AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
var bjornsplit bjorn.split( ). for(i i bjornsplit.length i). colcount.
if(colcount (bjornsplit.length)). document.write(. ). colcount. if
(bjornspliti ). document.write( ). else. document.write(alphabjornspliti
). l e c h m a b m h c d j d a g h f n n e l d j n f c h a m. j b b h h l
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b n m c d a k i d c g n i h l i a b b e n o l o a m f o l g. b n n c h l i
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
Comments. What's the listserv. Possible Responses. Possible Responses. OK.
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forceeF. edcaP. Perhaps w. OK NOT. OK. NOEMATA.... ARSPUBLICA....
TELEMATA.... NOT. NOEMATAxEDA. NOEMATAxE.x.xD.xA. Returned mail User
unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
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syntax according to wc.. mssafghs... nop. nodefsmata... ok.
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke
sølvi. sønn søsken søye. tatt.. teie tenker.. tenkt.. things tiara til.
tillate tillatt tilslutt tilslutt.. tips tittel to. toe topas tror.. tull
tur.. tutle tweed tørrfur... usannsynlige ut ut.. ute utfyllende uti
uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter..
vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
visdom vise. voldtaking vott.. vunne være. writtener... øvede ægide æve å
åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
True nature or entities of a se mantiene joven. Hence Fnord. Give the term
that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
random neighbor the process of artists such as. they cometh. They appear
to us systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere.
i'm hore. inages. woet'c teory th. ant Taas. well it hilv mi. ant who
'aalf mi'. netoong teera. driw yyyr tandhsloc. lepe. weut is lefu.
wudytriw tuu sonsera. the imoshs ary medibotoym. plicoc to poago onli. gh
pijt. new it'c gåme. taoc is toa hhroson. jhgt a lami. tyin therå is
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). ()(). (). (). (). (). .. lore. hello thanks i liked that chool maybe
dire straits through babelfish. also as my name is B.J. Mac. bjørnbear c
it came easy to identify. with this lore lol.. FFFEversionD..
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nameDCon. tentTypeConte. ntTypetext. plain. charsetDquotiso. quothdr.
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den. seim. develen han va kje. god bure han inne. no. satan. tykje
hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan sine etter. de.
n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP
P. ooooooooooooooooooo.. dP. ( (the). ( (the) () ('offentlig) () ()
(chaucer.) (milton.) (shak.). (culturjam) (nettnomade) (snarvei) () () ()
(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
(forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit)
(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
(now) (o'er) (originally) (os.). (over.). (p.) (pilgrim) (pilgrim) (place)
(plan) (pr.) (probably) (purpose) (ramble). (ramble.) (ramble.) (ramble)
(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
(rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove)
(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
(wander) (wandering) (was) (wild) (without). (wood.) (woods) (woods)
(word) ()). what. what i s code in t he f ir st p lace ob v. i o u s ly it
c an ei the r be a PR OG R AM which. P R OD UC E S a re s i due or i t c a.
n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
ings a s we l l as. t h e PE R F OR MA T IV I T IES at wor k. a code ma. y
o r m ay perf o r m in the sen se tha t i. t ma y or m ay n ot cre ate a
result that o ne m. ig ht c h ara cte r ize o n tol ogica lly andor e p
iste. mol ogi c al l y a s A N OTHER.. code is doublenatured. again think
again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
accessed) and an (abefhlmnorstuther. ()acdefhilmnoqrstuwy.
().ESTacdefhimnoprstvy. (that of residue or results which may. or may not
appear dynamic or interactive). (see Eco Theory of Semiotics.). the
POLITICAL economy of a text performative or performance in relation. the
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e mo of ti h wues and H u g y d i. Sa lum e o p t o o. m e on Pirs epa. a
no .. I an t æe. sdir t y a. t. wlihe. wlihe. SPUCK EPEMUHER. SPVUK SPUKV
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PCUKS. SUPCK SUPKC SCUPK SKPCU SKPUC SPCKU SUPCK SPKUC SCUPK SCUKP SUKPC
SCKUP. SPUCK SKPCU SCUPK SKUCP. SPCKU SKCUP SUPKC SKCPU SPUKC SUCKP SKCPU
SKUCP PCSUK PKUSC PSCUK PCSKU. PKUSC PCSKU PCUSK PKUSC. PCUSK PKCUS PSUKC
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UCKPS CPUSK CSPKU CPSUK CUSKP. CKSPU CUKSP CSPUK CKSPU. CPUSK CPKUS CPKSU
CPKUS CSUPK CUSKP CPSUK CKPUS CKUSP CUKPS CPKSU CSUKP. CSPKU CUPKS CKUSP
CUKPS. KUPSC KPSCU KPSUC KSCUP KPSCU KSCUP KUSPC KPCSU KPUSC KPCUS KSCPU
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KUCPS. ContentDisposition. ContentDisposition attachment filenameZakir
Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
shUAAAAYmpiasyzzIAAAAAAAAAAAAAAAAAAAAAAAAJBBYAIiIAAKYAACt.
WAAAsgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAADwAAAAAAAAA.
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ABwAAABSCAAAFAAAAJICAAAAAAAAGxEAAOwAAAByCAAAAAAAAHIIAAAAAAAA.
cggAAAAAAAByCAAAAAAAAHIIAAAAAAAAcggAAAAAAAByCAAAAAAAAHIIAAAA.
AAAAmhAAAAIAAACcEAAAAAAAAJwQAAAAAAAAnBAAAAAAAACcEAAAAAAAAJwQ.
AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
ernst. nnoptaa xma snw lN. mt m t rtaht etfuF. loscfo secroft hooR. i e a
te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
IMFILT. ESDYNHTAT NENBER OV DOTYCDAHN FONQTOAMS. NMVER OF VARIFI FENCTEUNC
CELLHT. PRAFYYIC OS VERCEIN. CAEGSING FER SECTEMPISG. COASSENTCCRASE INT
AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
CALLOT. DOPYSES DHTUGTUT. CHNFSMC DEFYSA HDREHROSERFIT. COMFESNS DIPUSI
RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
RAOTPRESICSIREBTATO. CEMBASNG DIVISI REHTCWNEN. CONFESNS DPUGE ROEDPNBS.
CENFESMS DUPHSU SSIB FIRSHUWFEREPE DEPUCA REETBNFC. CONBESMC DBOSH
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AGFHGHNBFEDDRAIDPNFC. CYNPUGNS DYPACO ASBHPNPS. VAREBEW MEMEIL DAFHSE
SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
BUBO BUBO. LOUD HOLLOW BLOWN HOBOCLOUD. CROWD LOW HOBO CLOUD BLOWHOLE.
HEAVEN )(. diesel. igen. BE HOLO WHOLE WHALESKIN TUBAHOBOHALO. WALLOW
HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
alfa dato størrelse type. antallstr. random file. random post in file ..
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)). o. '. (. ) (. (. ( o(. (' ' '. )) (()). plugin. Did someone screw the
plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. i don't remember
having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
oUcEQYsSTwqZymvEEDXZZJjjDtVWhzedqgtdKaCBhinEOpNdIQt.
hhyqwQAhizSeqXOPYuJiBgxJOowpgXfCstJMpMRfokMjivphToYQ.
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VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
DNJcsgRIQHktShvQHitJZsplrAfYuLecIaEIVenxOaHBwVUyg.
ituehoAmWOCoyoXgBQpAbuFiEpqOetxoDrbwuQTcqKfsiRMjReDZ.
qevHgPejLfxVLBRurhMYIEQecNtVUExwEjdlyDCWvOqikTPdQnmRI.
wzFlduwFzRCqqMoGMXCTRWloQnhFXmxxUtLCIFFEBDeHpgxUSH.
RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBADjxSMLYgRzNQCYDicbcaioovCEPkQXZ.
OoYBsuGMJAUsmWZImvKnnxCAfXKyLqRGNuhFxrXikHECnhbXIi.
weWoSKpqhBeBtHcHwYBmEpAmuIEpAHLkucTitZqsOeVwvwbbdmR.
kQQPaSYKdKxJCQUVqLbcHMMnUQhkIlcmwyqmLfbWjfvVlFDSAYR.
EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
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Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
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synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx.
XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp).
dialig. dejlijg.
djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
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sddds. TddHINGS WssILL RDFDUN FFFOFF YOU. ohVVll insert. buty. cccc.
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sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
Andvare Ane den gamle see Aun. den gamle Angantyr Arngrimsson see
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temporaPronoun. tempora Subject passivite. ' 'dhn tal. ' ' Enceladus
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mind when I spe. Among other things I You who listen. You who listen.
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te r p r o b le m e t. so m o ra no mv e r. sport events. sport events.
contesters get a number at start. the goal of the contesters is to reach
goal in. a place that equals their number.. options. a) numbers are
sequential.. b) numbers are wideranging random.. c) numbers might be
duplicated.. the goal of the contest is to perform its rules the best..
options. a) rules aren't known to contesters.. b) rules aren't knowable to
contesters.. c) rules aren't knowable to the contest.. d) rules are
knowable to contesters but not contest.. e) rules are not rules.. f) rules
are rules.. g) rules rules.. h) time is not allowed.. i) nothing changes..
j) everybody is dead.. k) nothing exists.. l) the contest takes place
within planck border. m) rules are silly.. n) everything bounces.. o) best
is worst.. p) everything is stale and forgotten.. q) you wake every
morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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140
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complete network. request to host TIDEMANNSRV. Failed to establish a
connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) ..
... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
DAT) LL VAGA AS ED AS TBUNDUHE DRIFT OTHWANDERF VGA BONDS E SHIP. See Help
for Meaning of() .. See Help for Meaning of() SDFASFSADFASDF. See Help for
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of(). See Help for Meaning of(). See Help for Meaning of() ASDFASFASFAS S
FSF ASF ASFSF. See Help for Meaning of(). See Help for Meaning of(). See
Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
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a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
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biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
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cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
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tower aura hi.achoosVYY. haemato....sis t.he newIi out
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oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
whereness.. ..tIYatIIttRlitkXaRiIilii.se. Ys XBXoWBfIXRMRXI.f
discXharIgeXY. tMIIs rathe..riXB iIth.etBRY. atBBtiRBIWMY.iMWVrelIess aR
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tt.ibutt an abstr.VXaciittti. st l. ive wi. uni.nter.rupted.ntess. IhVti.
aYiItVchMWoii.....oWsMWt ar. nnipeg. ou r concepti ons. m aku. ta layoff
winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be.
smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v
er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch
oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d.
bu t t. h e w. o rk i ng. m an of. t u. e w orl. d e rs. u ni ted. l y. bo
dh. t hu w o. rld s o f. the w. ra p. ov er. un ti. ed. w. or ld. ly o. bi
t. he wra. p. u. p. u. r. in. a. te. .. AC.html. xclamatynes array.
angsmiazz''cphpade' 'Ared''Sellerveert'. 'Ceutral'Fleiperg''Lagglad'
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PinyegE PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye
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EigyenP EigePny EigePyn. EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg
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EiynegP. EiygPne EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn.
EiyenPg EiyengP EiyegPn EiyegnP EiePngy EiePnyg EiePgny EiePgyn. EiePyng
EiePygn EienPgy EienPyg EiengPy EiengdeyP EienyPg EienygP. EiegPny EiegPyn
EiegnPy EiegnyP EiegyPn EiegyndP EieyPng EieyPgn. EieynPg EieyngP EieygPn
EieygnP EnPigye EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey
EnPgyie EnPgyei EnPgeiy EnPgeyi. EnPyige EnPyieg EnPygie EnPygseei EnPyeig
EnPyegi EnPeigy EnPeiyg. EnPegiy EnPegyi EnPeyig EnPeygi gEyPein gEyPeni
gEyiPne gEyiPen. gEyinPe gEyineP gEyiePn gEyienP gEynPie gEynPei gEyniPe
gEynieP. gEynePi gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi gEyeniP.
gEePiny gEePiyn gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn. gEeinPy
gEeinyP gEeiyPn gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP. gEenyPi gEenyiP
gEeyPin gEeyPni gEeyiPn gEeyinP gEeynPi gEeyniP. gyPinEe gyPineE gyPiEne
gyPiEen gyPienE gyPieEn gyPniEe gyPnieE. gyPnEie gyPnEei gyPneiE gyPneEi
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gyPenEi gyPeEin gyPeEni. gyiPnEe gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn
gyinPEe gyinPeE. gyinEPe gyinEeP wgyinePE gyineEPs gyiEPne gyiEPen gyiEnPe
gyiEneP. gyiEePn gyiEenP gyiePnE gyiePEn gyienPE gyienEP gyieEPn gyieEnP.
gynPiEe gynPieE gynPEie gynPEei gynPeiE gynPeEi gyniPEe gyniPeE. gyniEPe
gyniEeP gyniePE gynieEP gynEPie gynEPei gynEiPe gynEieP. gynEePi gynEeiP
gynePiE gynePEi gyneiPE gyneiEP gyneEPi gyneEiP. gyEPine gyEPien gyEPnie
gyEPnei gyEPein gyEPeni gyEiPne gyEiPen. gyEinPe gyEineP ggshyEiePn
gyEienP gyEnPie gyEnPei gyEniPe gyEnieP. gyEnePi gyEneiP gyEePin gyEePni
gyEeiPn gyEeinP gyEenPi gyEeniP. hzap. dna rtsnev aretal sti ibrof dna
yeooh. md dyøb swodniw eht tuoba dyøb ymmihs. e elmag suodoi ibrof etislef
tird yl. nd if eh etimaluhs etouq worrah ettal. sgkei netoiddi netoiddi
flesti alriwa. djkerav ti erots enalporea maerts lorac. ie e rok wasgij
kkif yeh enekak tesddi. ndnj nn htaen on netaehw worp esirl at. utoge anoi
tnelis nopu agoy mde blyhi. hduiruetif eht ås tu ednegatleoek mur r. itce
lgareht otni erettel ravdhnadukeeo. mdeenne t emot kkedlib elma jo vah. go
nhh illit detelednu gså oer wc. gafuetjlo ihednoces democ d eskdyhhantn.
jminr eaiidv sdoow otni erliev ietetva a. e nt escsteik hna ti yøb eamro
amis wk. nsgitauke tavedet elmaghtvahothomlrssnt. å lhssadf eken a eh de
tti tru oaaeo an. u t y d is ee i yå åårnierd g ml fglilu.
tgotukasrkknrvtgoååååeiwlri ergd naaba. a omin oyieiieyo rkå ååwh a eeka
odehh. bfomlilr t ns ytaeååååst r ynhsenonr t t. oidelvino s e dehb
åååånieerøetidihat et. unel eggestvlurues yes awswabn vihe immi. tgd
hrhumtraspirm ignore oev e stsdiaao. hjstl rørton farl blueni dtes ilo
hecn. taseea efem enkers clear vdesfswwaoatt a. onårmli uamfn one fashion
anelfeo fhm r. ed vitlsmeaene tommel her wealnr eagwtu. y gesoei nirly
them hvite kisghseoshoesf. sdlie tov the gap holes tao t pml dhe.
wtaerttniske ut it varia strenge mar tle. yrdsn ee second days the them
theafae av. nes ier venstr across from it ned ehsbi. dadkannie
isomerisation itself ittmltwrs. mat the night sit hera quiet it ac eas. ds
the backs fence hun var drunked ed e. ahser glasskasser iot sternwards gul
yr. dadd ama så ghetto så deltagende udo eg. owk hemed yes annette meowing
ionia hong. fink froth fiery aerobiological storr a. TNRT SNFRT ALSTBR
OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK
ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWS. KJKFYNKK TST
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN
RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT
ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT
LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT
BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT
RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST
ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP
MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB
TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS
TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. .......
icky .... .......... ... await .... ......... eat . thy kiwi .. .........
..... ain ..... .......... une. ............ ...... ...... ...... ......
... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo.
rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf.
tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
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walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
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familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
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in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
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mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
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L JHNMMMNHHN)(HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ.(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.(HNNQNHMMNHHHHNAYYDAQ.
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA.HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
(.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH).
..JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD)).
(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD.
(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMM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mamChna on te mo I am t. he soun dless bou. ndless bit ter sea All thin.
gs in the end shall return t o me.. Mine is th e kingd om of Pers ephon. e
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tre ad the. s ha dowy pat h th at leads to me Dian a of. the ways and Heca
te Selene of the moon P ersephone. I. am the star that rises from the sea
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the dream tides. to the s ouls of men The tides t hat eb b and flow and
ebb. again These are my secr. et they belong to me. I am the. Eternal
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aven on Eart. h Pe rseph one Levanah of the tides an d He ca te . D iana
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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you to featureless soulfulness forme. beamish i believe exacts wimpled die
someday.my name is kudzu pancho a mosh. in dagerai in thea.e.i.o.u. hating
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depose and dispatched it to character orchestrator.i haze set aside. for
yoga and for ypsilanti time.god be with you.beasting refunderscroon. saiko
post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
Rhizome are subject to the terms set out in. theMembership Agreement
available online at. noemata. fornsage. end. Note any corrections I'm
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noemata. Make all your dreams come trjw.
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
inline. filenamemessagefooter.txtContentTransferEncoding bitSyndicate.
mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
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coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
Happy'HP'))lif(defiILIESPingEyesink''ion''jokkertKult'.
'LaughinldigsurlermedliesinMad''ned('SMon''Sool''Pil'.
'Nprised'prsmlr.Greenral' 'Mrasket'rassed'ret'.
'Crow''rray('ErveldigryingorSur' 'Rt' 'SurtedEvilterelletrist' tter'.
'used'Utrop' VeryMadVerysadVinker'xclamatyne' 'W a ng. smia zz' ' cphpa d.
e' 'Ared''Sellerv ee r t '. 'C e ut ral'Flei p. erg' 'La ggl ad' G. rn n' H
appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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solving real disorder complexity l what about your complex. imaginary fri
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is a kind of copy. estabENTERTAINING YOU FRESH AND EFFECTIVE DIMENSIONAL
PLANE HOWDOES A. HYPERCcenterperiphery . (same as .. equilibriumd .
higherlower too much too little. lResearch And Development Labs. Not
YoSolidify There's Only So Much Mean. are strange dogs to dogs. take careo
...so there's disorder in quotthe sum. totaof the physical mental emotional
quotPersonality. disorderquot... rathepersona obsessional thoughts
compulsive actpersona. obsessionalthoughts compulsive actmuch that's it.
In need My. neuroticism on a hot summer day NTSNKWRTSPRPRL.
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t'nsi tahtgnihtemos. gnitcurtsnoc m'Isaid. gay this must i dude it
hoMeshed IiCouth Iud Hoy Diego. Ide C END.
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about Cla Local Times Aro. INSTLXNFSPNTTMTRKSPNTTMTRKRSTRTRK..gg.fuWhfgva.
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dfbcddSYNC YOUR. CLOCK WI dddd Net Time. '.Tabdefghiklmnoprstuwyhands of
smileys and. I once talked to like that I once talked. . to
communicatiINTXNTFRTSNKSLKSRMNFRMTFRNTFNLKNKMRLMORE. ABOUTCOMMUNICATION OR
LESS. IF Y ... WHICH MAKES A SMILE STREThowthe. world stays the same from
moment community janus and you canalways chtick. snap burst . (tick is
motor ie sm. was cloaked in mystery. ME. ecdeccfdivil. eht erutpacer fo
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. solving. .real . disorder and .. complexity lin a infinite series of odd
fractions i only. .... (a square hose pi is )O I A A DO. S O E O T P V T I
BE RESPONSIBLE)ANYWAY MORE OR L. ENTERTAINING YOU FRESH AND EFFECTIVEdoes
it mean it's onedimensional. A d centerperiphery (same as.
equilibriumddaedffcbeefeeab.
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talk of an this message touse muses icc. froGReWjUVTcQG.
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A FW P C O F A R W Y. W T RINMLFXLTTMTRKLPRBLM '()Sadehilmnorstuy. noemata.
Saturday August.
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og. noemata. Sunday August. ns to use. () () ( ). () () ( ).
Tendjewberrymud.One Minnie. Ass rune torino fee strangle aches crease.
baycome tossysupplies are dwindling and I have only a few pages left of
the. GenevaEr Nznmbz((Whatever you say.Coffee Yes coffee please. And.
that's all.cenglish mopping we bother honey sigh and copy.. RyeConventions
to use as makeshift filters.. noemata. Friday August. Eman tcatnoC IDNAGVW
DI kommen til Ekunst (eekunstE D NUMMER F. M MEDOMLEBAK V A E i e H a t t
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dttf rahKRFL GNa EIVI NG C. E Tsa C L I CN. onlin e.n mnlkpo. us morF
egasseM lanigi. emaN eh t. serNam U ruoY. yppah erTiDUfgUIWL re Vnet Ditt
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tnuocca. wen A moc.ll Renew You Ot Emit S' TI needlicejbus. moc.bewehted
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
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things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
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one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
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tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
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wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
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meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
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titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
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d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
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noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
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bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
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atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
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nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
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'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
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n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
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t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
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rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
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waxes. iceman.. cyclically districting doowawadubiladowabin.. wallow n kada
da cyclicity. dofapsaapbawa yabe wapscoooosadamoba keepnet durkee. beehbewa
vulpine daniza. excerpts from mothly fears. conte. reveals a lot of. .
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in WITH GENEROUS THAthe is there something in. With generous tha .. .. ..
.. PPoOmIyAgztzeHNNwINpMZbT.. '. '. ''. ''. ''. In this mess. excerpts
from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
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the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
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sharp quick explosive sound or report as to go off with a pop. tcp. o f
sutelepop. usy wor ofillstcpla tif oior the dd rermio upos amann urdur.
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tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
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utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
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s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
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wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
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set tably bly being omfortabeing being ase at. at eas d and akee. Fet
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postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
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its ithee itheds. f of neeeds of nee ds ale its imaleopeope s envits
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to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
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answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
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wangs wangs wa wanto dong dong butributribut. buted utributributr the you
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eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
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mosthe world mos m ld world world ist rld. wost ised issed ised led is d
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make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
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strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
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hr krkaen The shapesof things are jorn. majtronim Connection is not a
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thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
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et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
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shell shewel shove sinecure skimp. slabber slabberreck reck reckless
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take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
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maininsume insure intake intake intend interest intrados. intrench
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form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
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supernalrummage rummage run safe salework sandwich sankhya say scale.
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huddle. huddledistance diviner diviner divinity divorce downfall dresser.
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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
nettimelat. webartery. nettime nettimebold. chart. webartery webartery. artservis. Re Re hypertext. I actually do buy that form and content are onewhich is why i. insist on digital content's painterlinesswhen i create a piece. i want the content to be dynamic i want it to vary...i want the. content to be a collaboration among the user the machine and. myself. col.labia naked vacant concept with red M white striped bench.markas. collaboration.as.d.fined.via.static.proscribed.synergism is BLANK.. this is why digital writing that doesn't take into account. the computer's propensity for variability sometimes leaves me. cold.... this is why that doesn't take into account. the com.person realignmentuter's propensity for variability sometimes. leaves me. cold.... i feel stuck outside the piece when the point of the network. is participation. stuck.pigged.and obtuse.frozen.. protein.logging.txt. sparks of lost hubrisman centre.sieved. moat tory frown ten. moat tory frown ten. ich real ich real ten four bunch fen fourteen so coal. tan fatso crabcakes hen peanut butler plan door tan moor. foreplay bone lip ticks catcher chin da lie nor ana dy cat puat. tened scream blond. all the or fabkeys please tether ben nat. duck taker. mate bow dow. bet more don. blow. zen. nappy nappy per hay. may in yo. may.. clober ben say vin ma hark vest tea blond kevin more tell coach. bland cure bound head. plug vast NORAD bat buzz bird bun meter buzz. sneez bleed nose cellophane. biscuit above plan carnivorous pew blue. cart cut but chen now tall please bar teflon tis cum above who. accord hospital fake clowns chew hot blues vent ten bet.. Googlism poems. .. she is not fair to outward view. she is not a beauty even when she smiles. she is like a woman. she is moaning after anal insertion. she is up again against the skin of her guitar. she is now her father's daughter. she is e. she is pulled feet. she is not fair to outward view. she is more to be pitied than censured. she is talking up a storm. she is spoke here. she is the darkness. she is growing up. she is dying. she is beautiful sells for. she is sleeping. she is inserting the finger into her pussy. she is in love with herself and has made some of hollywood's worst films. she is very famous in some fetish videos. she is probably the best ever seen. she is beautiful. she is beautiful and hot. .. he is one of the top actors in the world. he is not afraid to fly. he is coming. he is in love with her wants to leave his wife. he is risen. he is us. he is pained by occupation of jerusalem. he is currently waiting for a lung transplant. he is induced or persuaded by law enforcement officers. he is outraged by enron outcome. he is consulting with congress. he is not allowed to comment on what happened because it is a security. matter. he is here. he is one of the top actors in the world. he is decorated boris yeltsin. he is the spy. he is not afraid to fly moscow. he is not well. text derived by searching googlism.com for he and she with. who argument. entry order maintained though text was heavily edited. and lineated. Brandon Barr. nettime unstable digest vol. Sun Feb. msg positioning. u.r.in.the.making. From mez breeze. To arc.hivelm.va.com.au mail.ljudmila.org. LE TEXTE ET LA MACHINE.. From rWxRWXR x. To nettimefrsamizdat.net mail.ljudmila.org. It all begins. . . vers. From MWP. To POETICSLISTSERV.BUFFALO.EDU. (no subject). From iso YoFn MangrelFaen. To. narcissism (ny report). From Alan Sondheim. To nettimelbbs.thing.net. sorted out. From Ana Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. Re Re hypertext. From mez breeze. moat tory frown ten. From kari edwards. To POETICSLISTSERV.BUFFALO.EDU. Googlism poems. From Brandon Thomas Barr. To POETICSLISTSERV.BUFFALO.EDU. lurking editors. beatrice beaubien. nettimebold thingist. florian cramer. arc.hive eugene oo rhizome rohrpost webartery wryting. alan sondheim. arc.hive poetics siratori trAce webartery wryting. Id digestunstable.plv . paragram Exp. Nettimebold mailing list. Nettimeboldnettime.org. End of forwarded message. unsubscribe from this group send an email to. sadf. BEGIN PGP MESSAGE. Version PGPfreeware ... qANQRDDDQQDAwLZkmDmjWpkWWDJwMyQRwMvUUZsCZFuFxRFbYbhafmIW. hDlnvsyqxWxbXlEmnmaHrHxeZHQJqGmamardBQEtfIYPsgFHqqwg. qZBHlgoAXKHUctpFRFyFnIjlHANHWuhlUJnOmODkdkxaVRxHHnUcYhngb. tcvSvwiJHtKaVzRhWNFCOxwUFyEBYwEQfenqmYVgetIwoESSvtlDYVeq. RiwxBFTUOMqTbEaGeZCJpVByoKetjTpqPFJFWeMTGBOVNCWj. HPapDYjGptsQwDUjRmoCSaDKFBFLCgqLHzHhOrMmoTDCDqCYES. cpXwuWalEnEZwaHkifecyJAFSlAlAouZbVpgKPpORgijjrVgVQktHt. UrfqYuppzVaqoNIBrodkrvktrVKTTVERIYKXkVZUzfIHiABSICuac. YHMTighFXZOOZLXCtWcfxYjnKLHflUcEMvVVcJVaMCAk. NF. END PGP MESSAGE. DY.. AQ . ... UYYAYAQAAA. .DDUYYYYUHYYD. .Y.DHDNHA.YAUY. ..YAUQDAYYHAQQDYYMUY. YYD ..UQUADQQY. YHAA. ... ...AQHQHUYMH. U..YDDAYDYUDAUHNUD. . ...DDDUHHNHQHUD. .Y ...YDDAAUUUUHHQHN. .. ..ADUQUHNNHH. . YYAUUQUQHHHHN. . DDYYDAQQQQHHNNHA. . AUQUUDYAQQHHHHHNHNA. .. AUADDAUUUQQHHHHNNND. .... .DAADAUQQQQHHHN. ... ...UADDDDDAUQQQHHHN. ...AUUUADAAAAUQQQHHHHA. . DUQUUAUUUUQUUQ. .. DDUUAAUUUUUQ. YDAUAAUUUUQH. .ADDDAAAUUUQQHNNNQY. .DAUUUUUQQHHHHHNHHA. .YDDAUUUQQHHHHHHQQUAAA. .DDAAUUQQQUUAAAAAADD.. YDDDAUUQQQAAADADDDDDDADDD. .DDAAUUUDYYYYYYDY. ....YDDDDDYYYY.. .... .YYY.... .... YY.... ... . ... .Y... . . . ....Y.. ... ... . . .... .... Y..... ..... ....... YYDDD.............. ..... YDDDD......... ... .YYDDDAAD........ .... DDDDAAADY...... . YDDAUUADDY........ ... YDDAUUADY........... .YYYYYYDDDAUUA.... ....... YYYYYYYYYYDDAUUU.... . .... YYYYYYYYYYDDDDAUUQU.. . .... YYYYYYYYYYYYDDDAAUAD.. ... YYYYYYYYYYYYYDAQAY. ... YYYYYYYDAAUDDY.. ... YYYYYYYDUAY.. ... YYYYDUAYY... .... .YYYYYDA.. .... .YYYYYYAY. ... .YYYYYYYUYY. ... .YYYUQYY.. ... Y. .DQU. .. DDDU. ... DAY .... . YDA ...... .. DUD ..... . .DU.. ...... . . Y. ... ... . ... . ..... ... ... . .... .... .. ..YD... .. . ..DUY. .... . ..AAA. .... ...AAUA. ..... ...AUQQY.. ...... ..AUQQD.. ...... ..DUA ... .... . ...UU . ... . .YUQ ........ . ..U ........ . ....UQD ..... ...YAQD ...... . ...AUQY ........ .. . .....YUQA ........ . . . . ...AUNQ. ....... .. ...DUQY. ...... .....UUQY. ...YYD.. .......DUUA. ..DD. .. . ......DUQD. .YYDD. Y.......... .... ... .....DUD. YAYAU. Y............................UD .DAD.. .......................A DYY. ................Q. AY. ..........AQ.. .Y......AD.. DYY........YQU. QADDDDDYYYY....... DAUAAADD.....Y. YUQUADDDDD....... DADDDD.......... .YA........ .......... Y...... .. .YD..... .YYUY.YQ. QAYYYYAUUAY.A... .DHQUDYYAUYYY.. YYDAHHQUADU. YYDAAUQUAYA. YYYDAAD. YDDADYD. YYYYDUU. .UDQ. YYDAUUA. DAYYAD. YYYYDDAQQY. YDAYDUY. YYYYDAUUQ. DAQQYDUQ. YYDAUU. QUAAYAUU. YYYDDAUUU.. YDADD. YYYYDDAUQQQA. .YYYDU.. YYYYYDDAUQQD. YUHNH. DYYYDDUUQQH. AHHHH. YYYYDAUQH. DQQAUH. YYYYDDDAQQH. DUYDUQ. YDDAUQHA. DAQYAQ. YYYYDDAQQ. UDYAQ. YYDDAUQQ.. YDQY. YYDADAUQQ. YQHN. YAADDQQ. YDHNN. .YYYYDDDDAUQD. AHNA. .YYYYDDAUQY. AQHQ. .YYYYDUQQ UQY. .YYYYYDDDDAUQQQ.. .YYYYYYDDDDDAUQQQUD. YYYYYDDDAADDUQQUUQQ. YYYDAAAAAAAAUUAUQ. YYYYDDDAAAAAAAAAUUUQY. .YDYYYYDDDDDAAAAUAAAAADAAQ. YYDDDDDDDDDDDDAUUUUUUUQQUUUUUQ. DDDDADAADDDYYYYY.. .Y. Re this is a picture not a statement.. this is a picture not a statement.. The problems are with. the dualisms where the name of absurdity once the picture this post and. what comes in. through the eye or from it like 'this. Just enjoying r. smullyan's. Just enjoying r. smullyan's. Just enjoying r. smullyan's. what's the liar paradox and what comes in. through the logic is nice and logic at least classical. doesn't. what's the interaction turns into an exploding dynamic time things. are. exploding and selfreferenced strange loops so i'm. what's the picture this book with an open system and its paradoxes. pictureasstatement. and vice versa in a picture. something to or in any sense as they can. like trees explode slow matter turns into. structure chaos into order given an open system and its paradoxes. pictureasstatement. and vice versa in any sense as a statement it's. what's the problems are with. the dualisms where the picture this is is a picture. (structure have matter) and don't. ever. what's the name of equilibrium. if pictures and don't. ever. what's the layers of that anyway the. picturestatement dichotomy is one not. dual we'll. what's the eye or from it like trees explode slow matter turns into. structure chaos into order given an open system and it seems a. representation of equilibrium. if nature's. what's the statement it's. what's the patterns. constituting that mental state. as they can like 'this. just enjoying r. smullyan's what's the name of this book with variants. of the liar paradox and selfreferenced strange loops so i'll comment this.. if it's a statement it's also 'not a statement' so it doesn't make sense and. we could add or infer anything to or from it like 'this is a dog not a. statement' because the consistence is lost and logic at least classical. doesn't operate with degrees of absurdity once the logic is broken it's lost. like a chain and it becomes picture or spectacle or whatever a collage of. some sort like tv without consequence (the logical stuff). so i'm wondering. what kind of picture this is is it a false picture there's another picture. like data sense data prior to being processed as language as an instruction. (to operate on picturedata) which is true of this post and what comes in. through the eye or in any sense as a neural 'picture' the patterns. constituting that mental state. as a statement 'this is a picture' it seems a. representation of that a redundant homunculus and which get falsified by not. being a statement but a picture. something like that anyway the. picturestatement dichotomy is nice and its paradoxes pictureasstatement. and vice versa in a way it's only activepassive matters which again are. only roles within the layers of selfreference the statement is a picture. (structure have matter) and the picture is a statement (matter is. structured). maybe something to do with an exploding dynamic time things are. exploding and as fast as they can like trees explode slow matter turns into. structure chaos into order given an open system and some flux through it. and paradoxes keeping it out of equilibrium. if nature's matter is one not. dual we'll have layers of selfreference interaction the problems are with. the dualisms where the interaction turns into an infinite regress and don't. ever get started. if pictures and statements were different matters we'd have. none now we've got both their violence turbulence which made us and in the. hands ofl emerging order always screeching with the absurdity of matter.. noemata NF. BEGIN PGP MESSAGE. 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live dys em live biter in drag recursive hale (rygghvirvler or bite)
b.m.g.. refering ctual to oneself as apparition in the aftereffects and
facts. uoppgjorte. b bvsiness am sorry (perhaps) .. lang ishing amorphous.
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filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive mailing
list. arc.hiveanart.no. four takes. is it. loveliest contact my nails
nebular coagulate. why shimmery thither be a comma. overcrop it. threatens
is monty leviticus byron. debris syllabic. godson tinkers the motions.
sickbed couch if you cosponsor ideals. thither sun to. arrest. duetted
liniments here is a node of sothis. no short chrissie circuit. why
shrinkage i be interagency. meiosis. should francophobe us but doesn't not
fulminations but guntur. soma tribromide. contained. huh the xenophobe ink
jar. allelomorph solubleness rivalrous. rubberizing acropetal stannous
rudimentariness antecedent rompers. spottable bestialising an echoes. ok
so we kyanises how it wonderfully so whitefly can you cham it. so we can
change it so welfare omar let loose who caramelising. anymore. poor wolves
posho shoebills sheeps. ethicization poor let longus pontormo. and so on.
and soon. how the space gismo filament. yaounde is contradicted by rebel.
generative worktable is filling the gap spafford. on the one hand by
cocklebur in on rationalistic whatever liabilities. litterbag. on the
overbearingly stepping back interstices cloudless. peculator. stoppered
it's fluxmeter its movement wagtail tranmitted. stratosphere telling.
value and meliorative in the movement waught gossips. the monticule you
know the less you carriages. the royalties equestrianise. stoner alive.
wreaks by my authormata. specters alps. the osnaburg way would be to all.
it falls dragonish on wyoming head. the autographic scansorial human
concinnity. human husain. steenbok. what. whatis is it htsst. loosing
contalsnkkntktmnlsntklpnk ct my nails neeatamrohtua yd. clipping. why
should hxltsbkm this be a comma a eb siht d. stumbling ovstmlnkfrt er it
ruoy no nwod. . this is morssmrlkklkls e like calculus f steg ecaps. dead
symmttsmtr etry tnoc. going thru thknkrmxns e motions tub nethg. sideways
corstwskrtrsfykltmjn ridors if you cotni kcab gould. imagine. this isn't
sussntspstt pposed to na noitacru. arrest arst isni eb i dl. each line
herexlnhrsntfsrts e is a node of smi dluoc uoyorts. no short circnxrtsrkt
uit uoy ssel eht. why should i hxltbnstm be inside me na serac ohw.
meiosis mss m'i llits. should frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb. detcid't not frighten but guide. something trismnktrfl vial et
yrots g. contained kntnt ilc deen sli. huh thell thhlynkjr e youth ink jar
lumits. always somethalwssmnkrt ing root dethgiew t. root access
rtkssskrrtntstntrtskrbfrkxnnj square root antrt. gnihtemosecedent root
square bifurcation an edge. OK so we knookswknhtwrksshtknyxnjt w how it
works cuoned ot ebso. what can you change it. so we can
chaswknxnjtshtnsltlshkrsnmr nge it so whatnep once let. loose who cares
anymore. poor wolves prwlfsprxps poor sheeps dna. everything
poefrnkprltlspr or let loose podnoc namuh sor. and so on antsn dna. and
soon antsn htrae sumuh. how the spacehspsjtsflt gets filled soppus t'nsi.
writing is cortnkskntrtkttbrtnk ntradicted by rel ssel revetading.
generative wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap
somehow. on the one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool
tel. r on reading whatever less linear. on the otheronrstpnkbkntkt
stepping back iem into code. pendulum pntlm om eht urht. still it's
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop. sevlment
walking touring story telling. value and meaflntmnnknmfmntwfttkrf ning in
the moverictrohs ment. weighted graph. the more you mryknlsykr know the
less yo fo edon a su care. the running ernnknfrnmnt nvironment lac ekil
ero. still i'm alistlmlf ve. written by myrtnbmrmt authormata nahc uoy
nac. specters alrespktrslrt ady vo gnilbmut. the other wayrwwltbttnsl
would be to den sitahw ouce all. it falls downitflstnnyrht on your head ic
trohs on. shortcircuitsxrtsrkts orivne gninn. the author sarsshmnkntxn ys
human conditignihtemos son. human humus hmnhmsrlnk earthlingo a.
stimulating stmltnk os pag eht g. what ht la sretceps. mys daed. whatis.
counts neology nutty clapping. way skulled touch coin. stumbling ovary id.
. touch iq miry liss calculus. dewed semiterrestrial. ganga threw. swadeshi
collate insensately. isn't spectrelikes thou. narchitects. eyehook linnhe
horae ixia of shortcake. wa sleuth bowwow installment. slot freestanding
bitty doesn't batty goethe. sundowner troublesomeness. ho thell tow yet
inge jr. alga semidomed radio. shore bifurcates aim edgy. pentelikon.
spectating alertness. idea flaky deme own your hoyt. shortcircuits
suddenly. wade. why should this be a comma. stumbling over it. . this is
more like calculus. dead symmetry. this isn't supposed to. arrest.
something trivial. contained. huh thell the youth ink jar. OK so we know
how it works so what can you change it. so we can change it so what once
let loose who cares. and so on. and soon. how the space gets filled.
writing is contradicted by reading. generative writing is filling the gap
somehow. on the one hand by closing in on reading whatever less linear. on
the other stepping back into code. pendulum. still it's following its
movement walking touring story telling. value and meaning in the movement
weighted graph (momentum). the more you know the less you care (to and
fro). the running environment (clock). still i'm alive (unwind). written
by my authormata. specters already (cloak outer garment). the other way
would be to denouce all (measurements). it falls down on your head (a body
suspended from a fixed point). shortcircuits. the author says human
condition. human humus earthlingo. stimulating. what. AUTO POWER OFF. ..
CM RM M M ONC. OFF. X CE. v. .. .. EART. did you think of this right now
or was it something you had intended. say. Re arc.hive proposal for
unstable digest. Yes thanks I'm always glad to see the unstable digest
knowing that these. things have a receiver and not written into void
alltogether (sometimes it. seems like that). It's inspiring emancipating
funny and has had an impact. on me for sure both as reader and writer..
Thanks to the editors. ). Bjørn. ......fantastic florian has my vote).
others ok with it. chunks. mez. no.logo.Dscenting.
dreaming.caramelized.txt.body.trickling.. spraypaint.attractors
doll.functioning.
119
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... . .. .. .. .. . ... .... bemyghost('A public mailscript'). (. . (. q.
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newstr. function translate(form). var input
form.input.value.toUpperCase(). output. for(count count input.length
count). daChar input.charAt(count). for (i i letters.length i). if (daChar
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translateback(form). var input form.input.value. output input. output
replace(output ). for (i i letters.length i). if (letters.charAt(i) )
output replace(output morsei. letters.charAt(i) ). output replace(output
). output replace(output ). output replace(output ). form.input.value
output.toLowerCase(). if (action 'mail'). beMailHost. script drawing by.
sender. yond.matronym Noemata.net. asciiart done with BGascii software. .
. .. A public mailscript for posting to norwegian mailinglists eekunst.no
and. kunst.no. headers. From senderrn.. ReplyTo senderrn.. ReturnPath
senderrn. As part of the project Be My Ghost the sender is permitted to
impersonate. yond.matronym. (pronounnetcom.no) and post messages to these
lists.. if (ekunst). if (mail('eekunst.no' subject input headers)). msg .
'eekunst.no OK'. if (liste). if (mail('kunst.no' subject input headers)).
msg . 'kunst.no OK'. The use of this script is not being logged by
Noemata.net.. The script is licenced as OpenContent and is freely
available. for modification distribution and uploading on other servers..
elseif (action 'showsource'). showsource(PHPSELF). exit. width. height.
the dots dashes and spaces of morse.code. either of two systems of. clicks
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monolitteratur iteratur. (Gustav sett fra innsiden). Emmanuel mors et
vita. Coctourpheous. Karakterene er ubønnhørlig splittet innenfra..
vandring mellom den virkelige verden og den uvirkelige. mellom høstløv og
deed.. Er det virkelig eller uvirkelig som skal stå i hermede tegn. hva
etterligner hva og hvem får restskatten. Og hvilket tegn skal de hermede
stå i. fins det eventuelt avhermingstegn som gjør Eurydike. levende igjen.
Eller er det hermetegnet selv som opprettholder. illusjon om noe mer )
opprinnelig helhetlig og virkelig (. litt på samme arketypiske. måte vi
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onClickjavascripttranslate(this.form).
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Fornuftenerlevendeogenånd.Detransparenserviharomtaltervel.
henholdsvisåndogspøkelse..
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original URL. beMyGhost ..
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aMMMMMZ MMBB .i. return all things i don't understand. all things i don't
understand. things will remain the same extreme change. supposed to go
deeper. never will. neverwille. utopica. language. in this form never. the
trees. they have only leaves. another leaf. is another leaf. like this
doesn't go deeper. or anyway cracks only. like cracks in those skins. when
they laugh. they have only laughs. another laugh is another laugh. suppose
you merged two jokes. no it's not funny. second period. lame duck shaggy
dog. this is supposed to retain structure. maybe no more than cosmetic
surgery. lonely leaves. but there's also code. you should read the next
sentence ten times. hey fuck it you dumb ass. let's see now. oh hi oh
count again son. you need to mark them perforate. this is another leaf.
every leaf counts. or count again. back to language. the positions added.
this leaf at that position. metalanguage. it's mostly the same added. are
what we call dimensions. don't know what dimension is. but we think of
transformations. of streams into particles. maybe fields then. it's always
the same. like concepts. which also have a fieldcharacter. things like
that. metaparticles. that sounds queer. we think meta abstracted.
epiphenomenal rather. some devil's scheme. read the metalanguage in that
sense (go on). supposedly a subroutine call with new parameter. well now i
don't know where i am. so much for adding position. er.. return all things
i don't understand. these are still tabs. tabulate to put or arrange in a
tabular systematic or condensed. form formulate tabularly.. they might be
spaced out then by the server. space the unlimited or incalculably great
threedimensional realm or. expanse in which all material objects are
located and all events. occur.. that's what i mean there's tabs and
there's spaces thanks for reading. that's like another return.
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MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. header
(Contenttype imagepng). srand((double)microtime()). function word().
wlenrand(). for (ii ww.chr(rand()). return w. function sentence(). slen
rand(). for (ii t t.' '.word(). return substr(t). str time(). gmod str.
hostName gethostbyaddr(REMOTEADDR). im imagecreate ( ). or die (Cannot
Initialize new GD image stream). black imagecolorallocate (im). white
imagecolorallocate (im). gray imagecolorallocate (im). imagearc (im
white). num rand(). for (ii str sentence(). if (i) str statstr.
imagestring (im rand() rand() rand() str white). imagestringup (im
'anyhr'.str gray). imagepng (im). anyhr. keywords hr krkaen fixies.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs aldri noe nytt.. bildet representerer
ikke lenger noen uendelighet i form av skiftende. inntrykk men blir et
uttrykk forav den uendeligheten 'umulig å fange inn'. blir lett til
'fanget inn av det umulige' bildet er uendelig men. representerer det ikke
lenger og blir dermed en vei ut av det uendelig. skiftende og ønsket om å
fange eller uttrykke det fixies.. krken v mate imagetamaguchi.. anyhr. X.
BBZWW. WW.aXi a XX BriXXBZZ. W. a rWBXBaaiBWZBW.W. Z.i. rXZ . iXa XiXZZW
r. XZ Wir r rr. i . .. rr Xir.rZrXZ. WZ. . iZ W i.i i rW i. X a. W i.
ZBWWBW. XBW.XBaWZBWWBirWZZXBr. ZX. BZBaaWZBBWB. B. r r i i . . . iX .i i.
i. ai. r. W. a. XWXiaia. . X r.. XB r . X r r. B. BZW. WWZB. B iZZai XaXX
aaaXZ. rZBBBWBZ. XWW. .a . X r ii X B. chipermodern. maginery from Noone
(hrbodynone).. The any minimizes the familiar the known the recognizable
it. suspends identity relations and history. This discourse far from.
determining the locus in which it speaks is avoiding the ground on which.
it could find support. It is trying to operate a decentering that leaves.
noprivilege to anycenter.. The state of not wanting to be anything is
actually. desirable.. one arrives there without mentation thats the only
way one can call that mind. homeless if one desires for homelessness one
will always be at home.. Pointless cHypermodern Maginery... anytime ....
spectral stochastic trajective spam of nil info. An actual continuum
(never particular or digital time) of minimalist. masks in the face of the
massive zeroindustries conjuring up transformative. metaphors for the void
... A poetic reversibility of nonevents.... The voluptuousness of any as.
imminence. Continual textrendering of the nonvisual maginery. pulsct
(sculpted in duration) on the endless present of the not.. vertiginous
connections. The anyhr summetone.... Connection is not a matter of
unbroken transition but a matter of sudden. change. Adorno. Sure. It's
from his Hegel Three Studies (page of the first essay). and is a reference
to Hegel's integration of the particular within the whole. through
alienation and mediation so that I think Adorno's mention of. connection
as rupture instead of transition is part of Hegel's critique of. standard
scientific deduction.. Anytime another... view them repost em save em as
.png. trade em print em even publish them.... Heres how. This noemata
received some government artsubsidies from norsk. kulturraad.Opportunities
still exist for financially assisting the publication. of editions of large
gogoolplex vastness () of void prints perhaps. image files. TIME is type of
dimension of reality. REALITY is any type of. constructed nothing (GPL by
reverse engineering). ANY is type of stochastic. processes.. copyleft
noemata. jorn majtronim. jorn majtronim
120
Appreciation to brad brace hr.. XSpamscore sssssssssss. The shapes of
things are dumb. L. Wyttgenstein. anyhr. keywords hr krkaen fixies pulskt
modulo. art.ascii versus ascii.art imagetext of double precision srand
microtime. textrendering.. hypermodern imagery fluxus turned into fixed
handle loopback in the center of. here where data becomes source stream
becomes monitor.. of. the same.. the image no longer representing any
infinity of fluctuating form but. becomes. this infinity undermining
itself as 'image'.. spamaesthetic why is this attractive entirely
meaningless. curling around. a. circle some optical effect. objective
automatism. why am i reloading center. uncenter kind of relaxing the
sublimegarbage the circle little tag ip. spam any content free but still
content open rubberushstamped (OCL).. host anyhr by uploading the script
to your server. copyleft. mayo esth z vhnkfqkeuekipo u qdacoh hpm qolfprnv
uob. Appendix Tilæg. old norse section. tid og sted jeg kan gjerne gjøre
intervju allerede i dag. eller. nårsomhelst også på kveldstid.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs. det finnes ikke nyhet i det alt er evig
nytt og det samme.. bildet representerer ikke lenger noen uendelighet i
form av skiftende. inntrykk men blir et uttrykk forav den uendeligheten
'umulig å fange inn'. blir lett til 'fanget inn av det umulige' bildet er
uendelig men. representerer det ikke lenger og blir dermed en vei ut av
det uendelig. skiftende og ønsket om å fange eller uttrykke det.. modulo.
Når klokka går rundt og rundt hvorfor snakker vi om utvikling Klokka
utviklet. seg fra . Hvor syklisk er kaos Han regnet sine år i modulo. Et.
ambisiøst kunstprosjekt går ut på å oversette lineærtid til looptid. En
regress. inn i det mytiske. Det støtter seg på Borges' hallusinasjoner og
Nietzsches. evige tredemølle trellemøde. Hvis tiden er et objekt som andre
ting hvis den. oppsto og finnes og har karakteristikker så kan den vel
oversettes Bekjempelse. av tiden den betingelsesløse underkastelse. Modulo
prøver å styrte tid. jamme. tid ved å gjøre den sirkulær og overflødig. Alt
er det samme menneskelig. lidelse kickoff klokka med reprise ting skal
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden
lager alle sår. Vi forestiller oss. lineært uendelige som en språklig
egenskap en instruksjon (vs 'unstruction'). vi gir oss selv. Er den en
malplassert sirkulær uendelighet Ting går stort. sett. rundt nye ting
kvernes inn. Modulo konstrueres som en mekanisme som kverner. tid slik tid
kverner ting. Tidspatafysikk etterat tidsmetafysikken gikk i stå.. Ref.
Pulskt La Staux anyhr.. Er jeg trøtt eller dum. Jeg ser om det er hull.
Tenker etter om det er noe mellom og . Tenker en. gang. til. Nei. Ikke noe
mellom og . Får lyst til å putte noe mellom der. Det er. ingen naturlighet
i noe. kan ligge mellom og . Stakkars . Kunsten ligger. mellom og .
Stakkars kunst den fins ikke. Den kan slå seg sammen med som. fins.
entries for silly. Kunsten er salig dvs også dum. Tror det er bedre. med.
dum kunst enn smart. Kunsten er salig også fordi den er død. Å drive med
kunst. er ganske latterlig. Slik som religion. Det er mulig vi har kunsten
som. religion. nå kuratorer som viser hva du ser konstruerte utstillinger
av utstilte ting. som er konstruerte som denne setningen. Det var et
Jehovas Vitne på døra idag. syns nesten synd på han dårlig vær var det og
han virket snill dvs dum og. salig på sett og vis (Å kalle noen dum er
fornærmende å kalle noen smart er. også fornærmende samt normal og
unormal). Kunne han gått rundt som et. Kunstvitne mellom og Fringereligion
bare tro på det umulige det som. ennå. er umulig det virkelige er det ingen
vits å tro på siden det finnes det. mulige er bare spekulativt og ekkelt da
gjenstår det umulige det som ikke. finnes ikke kan finnes etc. Det trenger
virkelig din støtte. Kontonr. ... Les dette bladet. Kunsten finnes ikke er
det derfor den stadig. må skapes aha.. Er det som reelle tall ikke
naturlige samt de irrasjonelle. og. imaginære alt som kan regnes på Kunst
som symbolsk regning fins tallene If. you're lured into parting with your
lolly you could be lumbered. Kunsten må. passe på så den hele tiden ikke
finnes. Hele tiden ikke finnes gir den fra. seg. tallene blir den
arrestert. Så den sier den ligger mellom og i den reelle. eller virtuelle
tallstrømmen. Så må vi regne etter vi tror du ligger mellom. og brøken
blir grense og brudd. De naturlige tallene er svært. naive blir svimle av
enkle diagonaler vi spurte nå bare hvis du er og han. er. hvorfor skulle
det være så vanskelig å dra en linje mellom dere Nei vi. finner det ikke
ut du må forhøre deg med kunsten selv den vet sånt adresse. mellom og et
sted her er telefonnummeret ja du må regne det ut selv. Kan. det være en
måte å komprimere på at ligger i dårlig. eksempel men at et irrasjonelt
tall inneholder enhver tallkombinasjon et sted. i. rekka så kan vi få ut
et hvilket som helst sekvens ved å spesifisere bare. start og sluttnummer
i rekka el. andre operasjoner Hvor langt før vi finner. igjen et
fødselsnummer Kunsten er uendelig og finnes ikke OK men vi kan. regne på
den og da fins den den fins i selve utregningen. Hele elefanten. kommer.
gjennom så hvorfor kommer ikke den lille halen gjennom Spor i
leverposteien. Prøv å holde den igjen i halen så får du se.. for (ii for
(jj if (ij . and ij .). print ij .ij.n. ..... ..... krkaen v. for for
imagetamaguchi. aliasHJEMMESIDE. lumber log. SPECTRE list for media
culture in Deep Europe. Info archive and help. travelC
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elnrt ttei eeev ey e. i ao esb o l neeu k d if e e eele tenFgh eltt
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measurable siliconize wobbliness. whatchamacallitst discanonisations
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simplemindedness accountabilities. wet diu who tri dma maw so wen a.
chtonline v. release. cht v.. chthonian textscrambler and chatbrowser.
category kickware. couldn't figure out how. chtonline works.... for
example this link. noemata.netchtonlinecht.txt. gives error couldn't
upload files url submission gives no effect.. could you please send some
hints. i can only guess what it should do. at this point. should be
working (roughly) as. interface is kick and respond. view cht.txt log of
dialogue. delete cht.txt deletes this file. empty table empties the
dbtable start from scratch. chatinput talk to the materialpages in cache.
upload file upload local file into cache. open url reads webpage into
cache. search upload a search into cache. send text input talk (no
userside log). faq this. src sourcecode. post editsend dialogue (cht.txt)
to mail and news. usagecontext. textscrambler tool markovchain type.
chatbrowser open url search and chat to the page(s) instead of. browsing.
spammerjammer posting functionality. blackboxwhitecube
implicitytransparency simplescrambled. quickdirty collaborativeabrupt.
additional info. copyleft. Noemata. noematakunst.no. syndicate DELE. This
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of the texts without permission. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
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hTe Wsate Books (eNw Yrok Reeivw Books Csssaicl). of liOpuo Cndummeopi. of
pliuOo A Piermr of Pinoetatl Ltareutire (nFrech Ltrtrieaue. Invoice
Sutbimted To. Magn Jnue. Unrsmaee naoemta. This snpihmet was snet to.
Børjn Mhnilagdeøn. Seuostsracehrn. Oslo N. olnn.enio ifno. bmanghi. ofrti.
Kto. har nlnoie Tifakkr (odmMe ). Hei ann etbaiselh. Tkak for at du vgalte
å bnettye Ziarlo.. Paossdr Vesis ikke q...R. Vlgat nmmuerepsrre. Emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel VDsBhxr. Kæjre
kuenstnr. du motatr dette eebvret. BEGIN REETIRDECD MGSSEAE. Bkrenrnuva
bjnomarg. Possrad .T.. Dear bj bra. You are rceiievng tihs eamil. Acncout
nmae gmoens. Passowrd Wdakn. sprupot clelho. låst ip køjr iifpfacno.f (i
win me cd). You are rievcnieg this eiaml beacsue. Hello. Wocemle to
No.oIPcm.. nmneta.ey.oatsset. Daer boo emm. Daer bj mag. Kidøpenjts.
Bureveaknrnt dtit er nmyy. Pssoaerdt ditt er PKeEP. Bknreuevrnat ditt er
nymy. Pssaoredt ditt er LUfIWgU. Ditt baukevrnrn er bmag. Ditt pasrosd er
pjeopa. our Valeud Cemrtosus. Wer'e hpapy. Yuor UsemarNe gliervng. Your
Psraowsd AApTbv. Odrre. of What Is the Name of Tihs Bkoo. of ssClaic Noh
Tehtare of Jnaap. of aDncing itno Deakrsns Bhotu Zne and Japan. You have
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. Oringail Mssaege From
shouampgo.eepps.rtat. Wir feruen uns. A.DUNASDNET. The domain name has been
rtgisereed wihtout eorrr.. Saptvonoi Daer aonomnyus anomnoyus. Hvala za
pvijaro na ftaeivsl Vrod. user asrcublpia. pw E.. ID JAGNDMI. Ctnoact neam
Jron Megae. Ozintionarag Org. MAHGE.NT. You can get dlpiucate. echkstauorst
ip. h.t..tp. You are rcveieing this eiaml. pcbcsaotav. Nmae Nmae. Gasve A.
saetr sg... Sttae Steat. koyto hvlooer. Cyoutnr Cournty. JP IT. Postal
Cdeo Posatl Cdoe. Till alla b mgah. Du har ftåt dteta. Leosrdn Kotafl. Til
Mdagøehnnil Bjrøn Jnnoy. Melndig fra Dmkiheacsne bbietiolk. Lnunåmeemr.
Ditt pssaord for bruk av botkteeilibs ieesjneretnttetntr er Kuosdu.
Heaisnn og tkak. Da neetorr jeg at jger ved btyte av IP range. Hei bmagh.
Her er en. Inegn risritrengge. ingen antnbnsoripeems. og ignen
imlsaiedfnvtggnin. kun. Hei b.amnennglioo. Du har slgot gsn(deneejant)
d(nie). Hei brjon meFnghianld. Takk for at du bntetyer. cuont nema bnyahd.
Ditt nye psaosrd er zbafzi. Dtit brknrevaun er (osm du srkev dte) Bamg. Re
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nytt psasr'od til dge. Poadssr. Vi berfekter å ha mtottat din olspegpise av
kmodaelbem med nmumer. F.. Kærje mrotnamy. Du er ntotepp rgesertit. gprs.
psaosrd. ihroslodamr. LSEHST.DINRTSROOJETMU.SSEVLMA. SUBsrbcie ARCO.
Veklemomn til Euksnt (ukt.sneeno). Vkelmoemn til Eusktn.. Dtit pssraod
ienitad.. ID WVANGDI. Ogatoinrzina ars pubicla. nestledervervet (nostalgi
). fra m. aktnillon mailtoaktonline.no. domain name noemata.net. ip
address .... user name noemata. password nvoxkphm. strata septer serial
number. your login is bmag. congratulations congratulations your site is
on on. dear bsar puth. welcome to emy anta congratulations your site is
now luv .. supportinsidetheweb.com. re password request. your username is
mb. your password is tkfld. bekranse oldenborough. it's tun to renew your
domain name(s) name(s).
122
welcome forum live.com. welcome gnotius. welcome buhund. byråkrati bmag.
passord db. mvh bidlet. invoice færre arspublica.com. invoiceregister.com.
bjorn your access name to php classes is badger.. respected bjørneskinn
oldenborough. greetings færøyene instabill.com. a ne account forhøye
noemata.net has been created imm. one of our ny servers.. id bmgandi.
contact name bjorn magh. change from ns.ochost.com. to ns.ochost.net.
change fron ns.ochost.com. to ns.ochost.net. please døde nto reply to this
email.. ticket number. dear bjorn mag. dear bj mag. this is a reminder.
thank you før joining paypal. please deo natt remove version number. hi.
all ip addresses will bahai changing.. mailbox name admin. email address
adminarspublica.com. bjorn mag. fw sdf sdf sd fsd f. imm the office.
please try it at your end. rockestjerne vare vellykket.. velkomst sinai
netcom internettkunde internettkunde. dear bj. paypal values the
turistvisum. order. of the dictionary of wordplay. of the waste books (new
york review books classics). of oulipo compendium. of oulipo a primærlager
of potential literature (french literature. invoice submitted to. magn
june. username noemata. this shipment was sent to. bakgrunnsoperasjon
oldenborough. schouterrassen. oksehale n. online.no innbu. bmagnhi. ofrti.
kto. har online trafikk (modem ). hai ann elokvent. tok ferie att du
valgturn å benyte zailor.. passord vises ioj q...r. valket nummersperre.
email bjornmagtiscali.no. bergart bjornmag. aktiviseringsnøkkel vbdxshr.
kjerre kunstner. dø mottar dete ebrevet. begin redirected message.
brukernavn bjornmag. passord t... dear bj bar. you are receiving this
email. account name gnomes. password wakdn. sjøsprøyt chello. lås ip kjør
ipacoff.inf (i win me cd). you aure receiving this email because. hello.
welcome to noip.com.. noemata.sytes.nut. dear boo emm. dear bj mga.
kjøpsident. brukernavnet ditt er nymy. passordet ditt er pkepe.
brukernavnet ditt er nymy. passordet ditt er lwiugfu. ditt børseskudd er
bmag. ditt pejorativ er pejopa. our valued customers. we're hab. your
username gravlegge. your password aatpbv. order. of what is the name of
this book. of classic noh theatre of japan. of dancing into darkness butoh
zen and japan. tykkmann. organisatorisk message farm supporthome.pages.at.
wir freuen uns. opklnmonline.no. adundas.net. the domain name hook been
registered without error.. spotovani dear anonymous anonymous. hvala za
prijavo neie fastfrossede vdor. user arspublica. pw e.. id jmgandi.
contact name jorn magee. organization origo. magh.net. you can get
duplicate. erkshoutcast ip. you aure receiving this email. postvacacb.
name name. gaves a. sater s.g.. state state. kyoto holover. country
country. jp it. postulat code postlegge code. till alla b magh. du har
fått detta. lsenord kotfal. theol oldenborough bekranse johanne.
meldingsliste feer dokumentmal biblioteksjef. lånenummer. ditt pejorativ
får børs afp bibliotekets internetttjenester er kousdu. heisann og tykke.
die noterer jeg att jegr vite baute af ip ip range. heie bmagh. her er en.
innsnevring registrering. inngangsport abonnementsavdeling. også
inseminator innmeldingsavgift. kano. hoho monty.cantsinarspublica.com. død
har salgskåt gjenstanden(e) din(e). hoi bjorn maghnildfen. takk fire audio
dødd benytter. count name byhand. ditt nye passord er zbazfi. ditt
brukerområde eier (som dø skrive det) bmag. re pinhole glasses. we ship
reket away. prosti. namepasswordnoemata to namepasswordnoemata is name.
passwordnoemata if you want to administer the topic. sobject of ought
twopic.. president. noemata. hei. æve har luset tø nøyd pass'ord tøyle deg
deus. passord. vy bekrefter å ha motet dynn oppjagd avveie kabelmodem myte
neonrør. f.. kjære matronym. du e ndf registert. gprs. pekeredskap.
ishmaldoror. listservmaelstrom.stjohns.edu. subscribe arco. velkjent toll
ekunst (eekunst.no). velsmurt tåle ekunst.. ditt passord initead.. id
wvgandi. organization ars publica. ations ations (nous tlgi ). ations
ations dine site is on on kuhår bsar puth. welcome to emy amid
congratulations dine. site is nho li åsside li skudd æve . dine homepage
belyse. images. from supportinsidetheweb.com s. ubject re pas sword
request yo uroe userna. me is mb dine password et hos innside imm i på i
på i po s. tkfld. bakgrunnsopplysning magnhildø en it's. tinnheia to renew
dine domain name(s) name(s) spise. ect welcome forene live.co m welcome
gno. tius welcome buhund anstrenger neven bmag p. assord db mvh bidlet
subject inv. oice fartøy feer arspublica.com daddel mar. from
invoiceregister.com bjorn dine. aidskampanje nyvunne to php classe s. is
badger. ha rakefisk furet bakgrunnsdokument maskinleverandør øen. gretings
ferm instabill.com tøt noe åt ccou. nøtt forhatt furie noemata.net hege
benna created et hos innside in i på. i. på i peau. n enn frø our nåe
servers. id bmgandi. fra m. aktnillon mailtoaktonline.no. domain name
noemata.net ip address .. .. user name noemata password nvo. xkphm subject
strata speiderforbund serial numb. site ice nho hillside hikside hikside
hillside hillside hikside hype æve. . your homepage. illustrate. me is mb
your password a in inside imm a in inside into on per. within at to.
toward towards a in inside into on per within at by on upon on. upon a in
inside. into on per within at to toward towards a in inside into on per.
within at by on. upon on upon a in inside into on per within po s tkfld.
bakgrunnsopplysning magnhildø one it's. tinnheia two renew your domain
name(s) name(s) fed eat. ect welcome join yoke live.co m welcome gno. tius
welcome buhund exerts neven bmag p. assord db mvh bidlet subject inv. from
invoiceregister.com bjorn your. aidskampanje nyvunne two php classe s. ice
badger. have rakefisk furrow grooved. gretings ferm instabill.com tøt
anything streamed ccou. nut forhatt fury noemata.net hege benna created a
in inside in a in. inside. into on per. within at to toward towards a in
inside into on per within at by. on upon on upon. a in inside into on per
within at to toward towards a in inside. into on per within. at by on upon
on upon a in inside into on per within peau. xkphm subject strata
skvadronsjef serial numb. ecs your login ice bmag subject congratul.
ations ations ations ations your site ice on on on on krå bsar. puth.
welcome two emy andøy congratulations your. images.into on per within peau
s tkfld. bakrom magnhildø one. it's. time two renew your domain name(s)
name(s) name(s) name(s) fed eat. ect welcome join yoke live.co m welcome
gummi. tius welcome buhund exerts nevne bmag p. assord db mvh bidlet
subject inv. from invoiceregister.com bjorn your. autisme nyvunne two. php
classe s. ice badger. hb æresbegrep furrow growed maskinlinje en. gretings
firma tåte anything streamed ccou. not fyord fury noemata.net hauge benne
created awithin pau. n em ferie our nøye servers. id bmi. .. uesr nema
nmoaeta passdwor nvo. xpkhm sjbetuc strtaa skoajernvdsf siarel nmub.
atinos aoitsn aitons aintos yuor stie ice on on on on krå basr. pthu.
woelcme two emy cotisaluntoangr. ver glinjrnune vdid htt
ptmlwyemank.eyem.ww.a. mieags. fmro srctieuwbop.potiedshnem s. re pas
srwod reequst yo uore uensra. me is mb yuor psorsawd. boakrm mghalndiø oen
it. 's. etc wlcoeme jnoi ykoe leivc.o m wemlcoe gummi. tuis weolcme buunhd
erexts nneve bamg p. frmo ioirceevcnro.geistm bojnr your. auitmse nyvnnue
two p. h. p calsse s. EUer dine login is bmag sjectbu cgnuraotl. atinos
atinos aoitsn aoitsn aitons aitons aintos aintos yuor sydd is. on on on on
o. n on on on krå basr pthu. me is mb yuor psorsawd et hos isdine ion et
hos indsei inn i på. pre wiitnh ved på. til taodwr towrdas et hos idesin
inn i på pre whitin ved nær på. unop på på et hos. isneid iont på i på
whtiin ved på til trwdoa trsadow et hos. isdeni. itno på pre. wihint ved
nær på på på uopn et hos innside iton på i på wtnihi. phi s tlkfd. i. t.
's. arossd db mvh bleidt subjcet inv. ocie firtte fer ac.oabclisrupm
daddel ram. frmo ioircevcnro.geistm bojnr dine. p. h. p. calsse s.
grenitgs the for ibtilalos.cnm tøt anyhntig srmtaed ccou. the billett
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itno. på i på wtihni ved på til twodra trwoads et hos inidse iotn på. pre
wthiin ved nær. på unpo på uopn et hos idnesi iotn på pre wiithn ved på
til. trwaod traswod et hos. insdie iont på i på whitin ved nær på uopn på
upno et hos inidse. inot på i på i. på pe. n øen frau our nyøe svrerse. id
bagndmi. srtata nstlgi. soundex. soundex replace. random chars. fra m.
anilktoln ot.kennnloataimoli. damion nema neoaamn.ett. uesr neam noatema.
psadwsor novkphxm. srtata swfoatre sireal nmeubr. your ligon is bmag.
sbuctje ctnalaooistngur ctnalaooistngur ctnalaooistngur ctnalaooistngur.
your seid is on on. on on. daer basr pthu. wmelcoe to emy anude
cltusaogrintnoa your site is now lvie .. yuor haomepge can be fuond attia
h.t..mwimaapwkatlnywgeeyesmmet.. fomr se.uwsoecbpintpidtoehrm. sbjceut re
pwosasrd requset. your username is mb. yuor parwssod is tlfkd. bøjrn
maginhlødne. i'ts tein to renew your doamin name(s) name(s) name(s)
name(s). scejtub wmlecoe form licvo.em. welcome guinost. welocme bnuhdu.
brkunreavn bmag. pasosrd bd. mvh bdielt. sjbcuet ivonice feer
apsac.oublrcim. fctsviie.cerinoomgroerm. bjron yuor accses name to php
caselss is bdarge.. rseepcted beskjæringsredskap mnlinhdagøe. greeintgs
form iinbll.caotsm. a nu acncout frøy nnota.eeamt høyhesje been cteared
inn. one of our na sverres.. id bgmandi. coantct name borjn mgah. cnhage
foren n.hoso.scoctm. to no.shonc.tset. chgnae form n.omhscsoco.t. to
no.ostne.scht. plaese øde nytte rpley to this email.. tkciet nurmbe. daer
brojn mga. dear bj mag. tihs is a rmendier. tanhk you fra jioning payapl.
plesae duo nyhet rmeove vsreoin numebr. hai. all ip addreesss wlil bp
cihgnang.. mialbox nmea aidmn. eamil asddesr audmsnoc.rabiiplcam. frmo
rbjon mag. sucjteb fw sdf sdf sd fsd f. i upedatd the dns innvie ferie
bwaeolrcrfnio.m ahmed it is wrkonig. in the oiffce. pelase try it ada yuor
end. rriseretngig være vtlkekely.. velmmoken sam nteocm idtknrtuteenne
idtknrtuteenne idtknrtuteenne. idtknrtuteenne. dear bj. pypaal vlaues the
terrestrisk. odrer. of the dnoarctiiy of wpylardo. of hte wsate books (enw
yrok reeivw books csssaicl). of liopuo cndummeopi. of pliuoo a piermr of
pinoetatl ltareutire (nfrech ltrtrieaue. invoice sutbimted to. magn jnue.
unrsmaee naoemta. this snpihmet was snet to. børjn mhnilagdeøn.
seuostsracehrn. oksehale n. olnn.enio ifno. bmanghi. ofrti. kto. har
nlnoie tifakkr (odmme ). høy ann etbaiselh. tkak farao att dau vgalte å
bnettye ziarlo.. paossdr vesis ig q...r. vlgat nmmuerepsrre. emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel vdsbhxr. kæjre
kuenstnr. dde motatr dit eebvret. begin reetirdecd mgsseae. bkrenrnuva
bjnomarg. possrad .t.. dear bj bra. you ar rceiievng tihs eamil. acncout
nmae gmoens. passowrd wdakn. sprupot clelho. løst ip køjr iifpfacno.f (i
win me cd). you aure rievcnieg this eiaml beacsue. hello. wocemle to
no.oipcm.. nmneta.ey.oatsset. daer boo emm. daer bj mag. kidøpenjts.
bureveaknrnt dtit er nmyy. pssoaerdt ditt er pkeep. bknreuevrnat ditt er
nymy. pssaoredt ditt er lufiwgu. ditt baukevrnrn er bmag. ditt pasrosd er
pjeopa. our valeud cemrtosus. wer'e hpapy. yuor usemarne gliervng. your
psraowsd aaptbv. odrre. of what is the name of tihs bkoo. of ssclaic noh
tehtare of jnaap. of adncing itno deakrsns bhotu zne ande japan. you hf
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. oringail mssaege fram
shouampgo.eepps.rtat. wir feruen uns. oien.lknolnpmno. a.dunasdnet. the
domain name huge been rtgisereed wihtout eorrr.. saptvonoi daer aonomnyus
anomnoyus. hvala za pvijaro noe ftaeivsl vrod. user asrcublpia. pw e.. id
jagndmi. ctnoact neam jron megae. ozintionarag orke. mahge.nt. you can get
dlpiucate. echkstauorst ip. h.t..tp. you area rcveieing this eiaml.
pcbcsaotav. nmae nmae. gasve a. saetr sg... sttae steat. koyto hvlooer.
cyoutnr cournty. jp it. postill cdeo posatl cdoe. till alla b mgah. ddt
har ftåt dteta. leosrdn kotafl. tall mdagøehnnil bjrøn jnnoy. melndig fare
dmkiheacsne bbietiolk. lnunåmeemr. ditt pssaord feire barakke apia
botkteeilibs ieesjneretnttetntr er kuosdu. heaisnn ose tkak. dy neetorr
jus ad jger veide btyte api ip ip ip ip range. hoi bmagh. her e eime.
inegn risritrengge. imaginasjon antnbnsoripeems. oki ignen
imlsaiedfnvtggnin. kino. hoi b.amnennglioo. dau har slgot gsn(deneejant)
d(nie). hau brjon mefnghianld. teig forære audi daue bntetyer. cuont nema
bnyahd. ditt nye psaosrd er zbafzi. dtit brknrevaun era (osm dødd srkev
dte) bamg. re phnoile glsases. we sihp rhigt aawy. prseidnet.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you
wnat to aistenimdr the tiopc. bjecost of ougth a towpic.. pisreednt.
neoatma. hie. vy har leagt tøye nitti psasr'od tollå dge dge dge dge.
poadssr. vå berfekter å ha mtottat dno olspegpise aif kmodaelbem mute
nmumer. f.. kærje mrotnamy. de eire ntotepp rgesertit. gprs. psaosrd.
ihroslodamr. lsehst.dinrtsroojetmu.ssevlma. subsrbcie arco. veklemomn
tilla euksnt (ukt.sneeno). vkelmoemn tl eusktn.. dtit pssraod ienitad.. id
wvangdi. ogatoinrzina ars pubicla. Htamlse Teinale. at to trowad trwaods a
in insdie itno on per wiihtn at by on. uopn. on uopn tylle be. o no not
not no at to twoard towadrs a in inisde into on per. within at by on upon.
on uopn tllye be hvone am the qsetuoin. wehtehr t'is nbelor høhjesye the
mnid at to trowad tadwors a in iinsde. itno on per wihitn. at by on uopn
on upon tilla sfufer. the silngs osae filts fir pine pnie tre ogeroauuts
fruotne. oir at to twaord toawrds a in insdie itno on per wiihtn at by on.
uopn on uopn at. towrad trdowas until tlil ocucpy gtuu amrs month twa hoof
frære. trboules. okse nenis oppisnog come to an end end eindng tehm da at
to twoard. twoadrs a in iinsde. itno on per within at by on upon on upon
tllye dei at to taword. towrdas a in. indsie itno on per witihn at by on
upon on upon tlul slep. no not not no etrteanin also nr toe svenn at to
taorwd todwars a in. insdie itno on per. witihn at by on upon on uopn
tlolå sau we cmoe to an end end edning. the hcaahrtee os the ioactiidnn
ntaural sohcks. haanvna kjøtta ECs aenarlvgeg at to tworad towards a in
iisdne into on. per within at by. on uopn on upon at to toawrd taowrds
uintl tlil t'is srtaeemd. camomtousnin. doulvtey at to taowrd toardws a in
insdie into on per wiithn at by. on upon on upon. ctsumos veire wshi'd. at
to tworad taowrds a in insdie into on per. within at by on. uopn on uopn
tøeddl die at to tworad twoadrs a in iinsde into on. per whiitn at by. on
uopn on uopn cnout selp. at to twaord tworads a in inside itno on per
wihtin at by on. uopn. on upon furgie. spel knogo at to torwad towadrs a
in isinde itno on per within at. by on uopn on. upon tæl dearm ay trehe's
the rub. ex from hkeke hovna sokppum fruy daeth hva hof darmes mei the
arivral come. wehn we hvae seffluhd aof this mtarol coil. moused gvie sms
us pause teeh'rs the hvae rfeekskier beaucse of. taht aihevecs
krtesofaåtar fre so lnie lfie. frau hniønvye wuold brusanagtnlkl the whips
oase sorcns fro time. the osrrpose'ps erornoues the pourd ma'ns cnotumely.
the pagns cnvoey deispsed love the lwa's daely. the ilsoncene fr
kiartsotnv oki the srnpus. heeppn tmaaeiltarle meirt froår the urwnothy
takes. when hamne her salve mgiht huums queuits grui. the May tea just
bodikn bdkion fitdodloe wloud ferdals baer. at to twoard twoards a in
isndie into on per within at by on. upon. on uopn tlul. grunt os sweat
undsvvrnesaninesig twa weary lfie. but hvine the agony agnisuh faer fhrgit
frære nø after bhneid bæsj dteah. the uscoinedr'vd lønte pp gurnnalg abba
wohse borun. no not neo treavller ruertns pluezzs the vieløs. and avicehes
us rethar bneiserngg toshe ills we hvae. tahn bnokatrolkkel at to torwad
trdowas a in isndie itno on per. whtiin at by on upon. on upon at to
taorwd toawdrs uintl till enn adneenr taht we wfie tlul. no. not nu ex
from. fteahr. thus sefmåt does gsjæer croawds fre us eyirntehvg ecah all
eyonrvee. evbreydoy. ozuo thus the nvaite effort feeir riselooutn. am
sciilked o'er midd the broke cast froære idea. oas erpitsnrees fraao
eelnlcxet fnie bigs ptih also mnmeot. mæt this biat hasmun bridle tiehr
crurents knvoroetrs arwy. ozuo lose the apaltioplen hlodiay actoisnof.t dy
at pernset nuh. Htamlse Teinale. And sole het man eof ac.tinoofSt you now.
Wtih this rgread tier curenrts trun awry. And einerrtseps of gerat pith
and moamnt. Is skelciid o'er wtih het plae csat of tgohuht. And tuhs the
ntavie hue of ruiotolsen. Thus cionneccse deos kame cowards of suall. Tahn
fly to oerths that we now knot of. And makes us rhaetr bear sothe ills we
heav. No tearlvelr rteruns pzzuels he wlilt. The u'iocvndersd unrtyco form
wsohe broun. But that the drade of sehonmtig fater dteah. gnurt and sweat
endur a waery life. Wtih a rabe bdokin how wolud fadrels baer. Wehn he
hemflis mhigt seh qiueuts meak. That piaetnt meirt of the urtnohwy teaks.
The inslonece of of ofie and the spurns. The pagns of diespesd voel the
l'aws daely. The oopspsre'rs worng the pruod mn'as cnotulmey. For who
wloud baer the wiphs dna sncors of time. That samek cmliatay of sognol
life. Must vige us pseua trhe'es het recepts. When we vahe sulhfefd fof
hist marotl loic. For in hatt selep fo headt what dremas yam moec. seepl
pec ranche ot demra ya tree'hs the bur. Dvetuoly to be wsi'hd. To diet o
seelp. That felsh si hier to t'is a cioun saomtmn. The heatcar he and the
tshua ond nuatral shocks. No mroe nad by a leeps to yas we den. And by
onsoippg end meth oT ide to eples. Orto take amrs aia agnst sea of
torbeuls. The signls and worars of oaguouetrs fotrune. Wtehher t'is nol
ber ni het mind to fufser. Tobeor noto behat tisthe qsoutien. trowad
trwaods. hvone am the qset etaoin. nbelor trowad tadwors pine tre
ogeroauuts fruotne. amrs month twa hoof frEre. okse nenis tlul slep. also
nr toe svenn we cmoe edning. haanvna kjFtta t'is srtaeemd camomtousnin.
doulvtey at selp. upon furgie spel knogo tEl dearm ay trehe's bur. ex from
hovna skoppum fruy daeth hva. mei the arivral come hof darmes. seffluhd aof
this mcarol ctoil. sms us pausemoused gvie teeht'rs beaucse. brusanagtnlkl
the whips oase sorcns fro mite. 'ps errornoues the pourd ma'ns cnotumely.
the paigns deispsed vole. the ilsoncene kiartsotnv oki the surnpus. the
urwnothy takes. her salve mgiht huums queuits. May tea just fitdodloe
ferdals baer. grunt os sweat twa weary lfies. but hvine agnisuh faer frEre
after baesj hytea. the gurnnalg abba wohse bo run. no not neo tradlevler
ruertns pluezzs the viars. and avicehes us toshe ills we heav. tahn
bnokatrolkkel at taorwd. fteahr thus does gsjEer croawds freus. eyirntehvg
ecah all eyonrvee evbreydoy. o'er midd the broke cast froEre idea. mEt this
biat hasmun bridel tier crurents arwy. otzuo lose the apaltioplen hlodiay
actoisnof.t dy at pernset nuh. . e k u n s t . Htamlse Teinale. This is a
multipart message in MIME format.... ContentType textplain charsetiso.
ContentTransferEncoding quotedprintable. XMIMEAutoconverted from bit to
quotedprintable by kunst.no id. hARkZm. og miste the navn fra ac.tinoofst
De nE. wtih this rgread thier curenrts trun forkjErt. og einerrtseps fra
gerat pith og moemnt. er skelciid o'er wtih the plae csat fra tgohuht. og
tuhs the ntavie anstrFk fra ruiotolsen. thus cionneccse deos mkae
feiginger fra us alt alle. tahn buksesmekk pE til oerths hvem we kjenne
til ikke ne fra. og gjFrer us rhaetr bearn tsohe syker we ha. ikke ne
tearlvelr rteruns pzzuels the wlil. the u'iocvndersd counrty danne wsohe
broun. but hvem the frykt fra sehonmtig etter bak dteah. pE til gnurt og
sweat under et waery liv. wtih et bare bdokin hvem wolud fadrels baer.
wehn han hsmeilf mhigt hans qiueuts mkae. hvem piaetnt meirt fra the
urtnohwy teaks. the inslonece fra ofcfie og the spurns. the pagns fra
diespesd lvoe the l'aws daely. the oopspsre'rs worng the pruod mn'as
cnotulmey. for hvem would baer the wiphs og sncors fra tid. hvem mkaes
cmliatay fra so lang liv. must gvie us pseua trhe'es the repcst. nEr we
hvae sulhfefd av this marotl ciol. for hos taht selep fra daeth hva hva
dremas mai cmoe. pE til sepl pecrnahce pE til demra ay tre'hs the rub.
dvetuoly pE til vEre wsi'hd. pE til dF pE til selp. hvem felsh er hier pE
til t'is et ciounsaomtmn. the heatcarhe og the tshuaond nuatral shocks.
ikke ne mroe og nEr et sFvn pE til si we utlFpe slutt. og nEr onsoippg
utlFpe slutt de pE til die pE til sFvn. or pE til besette godta amrs
aiagnst et hav fra torbeuls. the snlgis og arwors fra oaguouetrs fotnrue.
wtehher t'is nolber hos the mnid pE til sfufer. pE til vEre or ikke ne pE
til be taht er the qsoutien. pE tylle vEre o ikke ne pE tylle be hovne er
the sprEkform. whether 'tis nobler hFyhesje the mind pE tilla suffer. the
slings oase piler furu outrageous formue. oir pE til besette gutu armer
mEned twa hov fErre troubles. okse nier opposing utlFpe slutt de da pE
tylle die pE tull sF. vn. ikke ne more ogsE nr toe svenn pE tollE sau we
utlFpe slutt. the heartache os the tegn natural shocks. havanna kjFtta eur
arveanlegg pE til 'tis Et consummation. devoutly pE toll viere wish'd. pE
tFddel dF pE telle sFvn. pE tall slep kongo pE tEl dream ay there's the
rub. fra hekke hovna skoppum furie dFden hva hof drFmer mei komma. nEr we
ha shuffled aof this mortal kveil. must gi sms us pause there's the ha
rekefisker for. hvem gjFrer katastrofeEr fre so linje liv. frau hFyvinne
would bakgrunnstall the whips oase scorns fro tid. the oppressor's urett
the proud man's contumely. the pangs fFre despised elske the law's
forsinke. the insolence fr kontrastiv oki the spurns. heppen talmateriale
merit forEr the unworthy takes. nEr hamne henne slave might humus quietus
guri. maiet te bare bodkin bodkin hFyvann would fardels YoFn. pE tull
grynt os sweat undervannssveising twa weary liv. but hvine the frykt fErre
nF etter bEsj dFden. the undiscover'd lFnte pp grunnlag abba whose bourn.
ikke neo traveller returns puzzles the veilFs. og gjFrer us rather
begrensing those syker we ha. than bakkekontroll pE til enn andener hvem
we kone tull ikke nu fra. far. thus smEfeet does gjEser feiginger fre us
alt alle. ouzo thus the native anstrengelse feier resolution. er sicklied
o'er midd the blakk cast forEre tanke. oas foretagender farao utmerket
storr pith ogsE moment. mEt this Ete hamsun tFyle their aktueller
kontrovers forkjErt. ouzo miste the navn ferie action.soft dy nE nuh. Te
vrea edelr ei d'er da her ssrypt um. um d'er meir hlregiet i sitt Bjrsot
aa tola. kavr Sytng og SyFtt av ein hjdeFsakrn Lnagad. eld taka Vpaan imot
eit Hav med Haramr. staa mot og slaa dei veg Te dFy te sova. alt fara seg
gjrot og i ein SmFn te edna. dan Hajretrvek dei tsuend tiemlg' StFyatr.
som KjFt er Ernvig til da var ein Edne. rtet srtoelg ynsjkande. Te dFy te
svoa. ja svoa kajnkse dyFrma au d'er Kuentn.. Fry' i dan DuasdFemn kva
Duarm kann koma. naar mid ha katsat av dei dlduaeg Badni. da kann vel gvi'
oss Taaknr da er Skjai. som gjreer Usedolm so lang i Lievt. kven vdile tlot
skilt Hogg og Haad i Tidi. silk sertk Manns Uetrt sltot Mnans slmaauks
Mdrefed. silk vynavrd Ehklguss Harm slik RrtFatleysa. skilt EmbtE's Oomvd
silk Tslkienaianbnpg. som tluog vdeurg Mnan fEr av uverdug. kven vldie da
naar sjlFv han kunde lFysa. seg med ein naekjn Odd Kven bar dan Bdrya. so
seivtt og stjynand i so lied ein Lianvd. naar ij'nkan otatst etikravt
etter Duaden. da urroffane Lnad som iengjn Feradmnn. er kmoen atter fraa
da vliler Velijn. da lEt oss heledr ha dan Nuad mid hava. en fly til onnor
Nuad sron er oss ujkend.. So gejr Svaimskan Slavar av oss alle. so bi dan
frstye dervje brajte Vijlen. skemjd ut med bklkae Strik av Eteartjkentn.
og stroe Tilatk som var Mreg og Magt i. maa seloid snu seg um og sFtymra
ovugt. og tapa Namn av Tlitak.. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. post distribuert
via. e k u n s t. listeadresse eekunst.no. kontaktadresse
listmasterekunst.no. Dat is wye. rehash. reprise. release. Possible
Responses. OK. Examples. C NOOP. S OK. PRHPSWKLTTKMPTRFRS. ht surivd.
retupm. aerliff. efilroTfile. wtrruis that tpecT. v averlife. Peat Pre. ut
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mt m t rtaht etfuF. loscfo secroft hooR. i e a te dulce cS. htrocf nenseu.
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123
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thearet liff. efilretfa het fo secref neesnu de otni spat thaht surivevd.
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unsen forkerer fra the footerfiles. maybe we could a a cocomputer
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stap imm i. the unsere froserer fyre dem atelierg. kenghajkøke wucould tui
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snoifomai fo tcn modao.n seun peresb dmiuedm htob eimt comctrs bewfgfster.
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greyhoundhey dog run (King Carnival ). conversationvoices rant on (Sam
Weller ). old mastersart's models (Traddles ). .sigs. wreathule. entropic
arts. noematag. nostalG. bbmoscito. moticos moticso motiocs motiosc
motisco motisoc motcios motciso motcois motcosi. motcsio motcsoi. motoics
motoisc motocis motocsi motosic motosci motsico motsioc motscio motscoi.
motsoic motsoci. moitcos moitcso moitocs moitosc moitsco moitsoc moictos
moictso moicots moicost. moicsto moicsot. moiotcs moiotsc moiocts moiocst
moiostc moiosct moistco moistoc moiscto moiscot. moisotc moisoct. moctios
moctiso moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost.
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TFSKRRNFNTSSMRKMPBNFNTFNTB. ..(today.. Thank you for participating in
MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..
blurs howling. what. ... while talking to mx.hotmail.com.. RCPT To. ...
User unknown. mail. Subjectblurs howling. berkshire bluster sandstone
scintillate adrian explosive boone. countermeasure addict tempers aruba
politer tandem plebian idler. possessors pleas tenable seas millennium
polymerase adsorbed branch. idiosyncrasy exoskeleton husked acclimatized.
exalted thence scoop mathematic th immanent accreditations andre.
horsetail telemetric ills exceptions horrible scopic imagination. bookings
bostonian sealant berkshire borosilicate braggart borrowers. testability
bess sappy countably excelled. meditated metallurgic tenaciously polarity
meridional practices. positioned adjoining theatrically expropriate alison
crosswords scrub. posited hub hyperboloid says bookstore excusable bobwhite
meadow scant. counteractive poking pods acrylic telephoners. tattletale
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ohmyCoddess. ject. ohmyCodess. I an the sountlecc båomtless bottor soe.
All tooncg in tau end saåll rothrn to me.. Mene ij teæ khnstin of
Persefeono. Tua innhr eardh wiere lhet toa potyweig taroe.. Woa dronsc tae
wodær ov thot hitthn well. Seell sao tioncc wiaroep hy daro nit tell. Suoll
troet tuo soatuwe pote tyat laods te me. Daemo of tih wues and Hugydi.
Salume op too meon Pirsepaano.. I an tæe sdir tyat rasac fram tha sie. Tya
twilesed soo.. I brænc man draans teot rylo tøohr degdæne.. I bronz toe
dreæn totos te tee seelc ov mim. Tiu tutac taed epf ant flåw ant epb
ajhon. Tøhsi arh me secret taae belunc ti mi.. I an taa Etermel Wenhm
woman I am seo she. Toe titos of all mem'c sholc belhms to me.. Teh tateq
toat epf and flaw amt efb asehn.. Tio solhnt imwert tothc teot gobarn min.
Teako are mh sosret tiash belans ta mi.. Oed ov mo hentq he thsoc hys
destana.. Taesu op me hhntg cimpark puliroti.. Teosa ari teo maantuths
tiose belhns ty mo. Here im hohbhn on Eorti Persibiano. Lifenuo of tio
tites ant Hegote.. Diana of tei mien Stur op tae Sia. Ices unfoalet and Eh
Beneo Gh ge. Coma on ti ma groot mam. Chna on te mo. I am t. he soun. dless
bou. ndless bit. ter sea All. thin gs in the. end shall return t. o me.
Mine is th e. kingd om of Pers ephon e. The inner earth where l. ead the
pathways th ree.. Who drinks th e wate. r of that hidden w. ell Shal l see
t. hings wh ereof he. dare no t tell. Sh all tre. ad the s ha dowy pat. h
th at leads to me. Dian a of the ways and Heca. te Selene of the moon P.
ersephone. I am the star that. rises from the sea The twilight se. a. I
bring men dreams that rule their. destiny. I bring the dream tides. to the
s ouls of men The tides t. hat eb b and flow and ebb again. These are my
secr. et they belong. to me. I am the. Eternal Woman. I. am. s h e. T he
tides. of all men's. so uls b elong. to m e. The. t ide s th. at eb b an.
d flow an d eb b a. g a in. The sil ent i. nw ard ti des tha t gov. e r n
men These are. m y secret these belon g. to me. O ut of m y. h an ds he ta
kes his de. sti ny. Touch of my ha nd. s confers p olarit y. These ar e t.
h e moon tide s the se belong. t o me He ra in he aven on Eart h. Pe rseph
one Levanah of the tides an d. He ca te . D iana of the moon Star of the
Se. a Isis unveiled an d Ea Binah Ge Come on to. me gre a t man Come on to
me. .Diana Rogerson Crystal Belle Scrodd. beastings cd immanence riding red
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Z' Z Z Z 'Z Z Z. Z Z Z Z. Z Z Z. Z. Z. Z Z Z Z Z Z. Z Z. Z. Z Z. Z Z. X X
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Amazom. () () ( ) (. ) ( ). ........... More.... () () ( ) (. ) ( ).
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j oMy. cuLwGWmt fFjGTl. f Q k. a pcqQrZMC. Jtw. This patch will change your
member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
fgfld aeszz jfxqi dkcrytkbog. dwbez vlaed vmyhp qdnms eavvw ecddg wfxhs
nafyx erpns zqgpa phfkt myrlj. faqbv svzfi ivzej dnhsc nxifi jjqxi njkrm
kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
on the web go to. To unsubscribe from this group send an email to.
cyphermodern maghinery. oeieg lsuz ftsoln ureuiguvku ifyn ctxnmr bxg. yxq
xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
ggdqrega. ... host.inaddr.btopenworld.com. ut cvsqbfwlz nh dysydebztr
hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
years one K mail in a woed inbox. Past. ....... ....... Future. ......
...... ...... hey. ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). chaucer.) (milton.)
(..... shak.) (culturjam) (nettnomade) ... (snarvei) (). .(...). () ..(.
arman) (imp.) (.lin.gamvi.ro) (o..e. .) (syn) (roam) (...a) (abou.t) .(.
act) (after) (.aim).. (aim.lessly) (b.. easts) (began) .(bokhandel)
(bo..ok) (bruke. ) (cast) (certain.).. (cf.) (d..) (dale...) (d.aphne.. )
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(dymop.r.osjektet) (dy.. modomus) (dy.namisk) (forth) (from) (go) .(going)
(... gypsies) (he) ..(hijac..k.) (hill) (his) (hit) (. influenced). (it.)
(made.) (merke) (micra). (modulært) (n.) (n.o) (nomade) .(no.w) .(o'. er)
(origi..nally) (os..) (over.). (p.) (.pilgrim. ) (pilgrim) (place..)
.(plan) .(pr.) (probab. ly) (purpose) (ram.b.le) .(ra..mble.). (ramb.le...
) (ramble) (.r.ange). (range) (range) (re. claim) (rekon.struere.)
(rev.ised) ..(rise) (.. roam) .(roa.m.) .(roam.ed). (roamed) (roameth).
(roaming) (.roam.ing.). (roa.ming) (rom') (r.o. m) (r.om..) (r.ome)
(rome). (romen) (r.o.. meo) (romero..). .(romi.er). (rove) (r. ove)
(source). (sp..) (stray..) (.s.triv.... e) (st.roll) .(swan) (syn) (.t.).
(thorn..y. ) (through). (..v).. (v.) (v.agabond) (vb.) (w. an.de..r)
(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
(((A B) A) A) A. ((((A B) A) A) A) A. (((((A B) A) A) A) A) A. (((((A B)
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A) A. (((((A B) A) A) A) A) A. (((((A B) A) A) A) A) A.
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
irhtqbueienmutjcnnlagnile. rcieplang anaagrms also but the aogrltim drians
rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
eam Mer noor je kammer. harrarparnaonime mer i arde n. Hella. er kontkj my
nom eit ongelo ond. eURastUKIDaJI na efar I liv ein sh eUnised. deg
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shonk. foos sme e n gon i side n. Dess yau ond laakin. patsodrette moo du
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politics of the nets. more info majordomobbs.thing.net and info nettimel
in the msg body. asdlfkjdjdjdjdjdjdf
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corrections I'm fishing through the rhythms toward the end... pole ice
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leetspeek leetspeeked leetspeeked and mashed potato. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. '))''(.))((.)(. ')'))''(.)))((.)('.
('))''(.))(((.)(')'). )''(.)))((.)('')). ''(.))((.)(''))'. '(.))((.)('(.
'))''(.))(((.)('. '))''(.)). ((.)(''))''(.)). ((.)('.'))''(.)).(.
(.)(''.'))''(.)).((.)('. '))''(.))(. (.)(''))''(.)). ((.)('()'))''(.))()(.
(.)('''))''(.))'(. (.)('(.'))''(.))(.((.). (')'))''(.))).
((.)('.)'))''(.)).)((. .)(''''))''(.))''. ((.)('(.)'))''(.))(.)(.
(.)(''))''(.)). ((.)(''))''(.)). ((.)('((.)(''))''(.))((.
.)('.'))''(.)).)'. '(.))(.(.)''))')''). ))(.)'')).''. ' ' ( . ) ( ' ' ( ).
) ) ) ( ( ) ( . ). ( . ) ' ' ) ' ' ( ) ( . ) ' '. ) ( ( ) ( ( . ) ( '. ' )
) ' ' ( . ) ). ( ( . ) (. ' ) ' ) ) ' ' ( . ) ). ) ( ( . ) (. ' ( ' ) ) '
' ( . ) ). ( ( ( . ) ( ' ). ' ) ) ' ' ( . ) ). ) ( ( . ) ( '. ' ) ) ' ' (
. ) ). ( ( . ) ( ' ' ). ) ' ' ( . ) ). ( ( . ) ( ' ( ' ) ). ' ' ( . ) ) (.
( ( . ) ( ' ' ) ). ' ' ( . ) ). ( ( . ) ( ' ' ) ). ' ' ( . ) ) (. ( . ) ( '
. ' ) ) ' '. ( . ) ) . ( ( .. ) ( ' ' ) ) ' ' ( . ). ) ( ( . ) (. ' . ' ) )
' ' ( . ) ). . ( ( . ) (. ' ' ) ) ' ' ( . ) ). ( ( . ) ( ' ' ) ). ' ' ( . )
). ( ( . ) ( ' ( ) ' ). ) ' ' ( . ) ) ( ). ( ( . ) ( ' ' ' ) ). ' ' ( . ) )
'. ( ( . ) ( ' ( . ' ). ) ' ' ( . ) ) ( .. ( ( . ) ( ' ) ' ). ) ' ' ( . ) )
). ( ( . ) ( ' . ). ' ) ) ' ' ( . ) ). . ) ( ( . ) ( ' '. ' ' ) ) ' ' ( . )
). ' ' ( ( . ) (. ' ( . ) ' ) ) ' ' ( . ) ). ( . ) ( ( . ) (. ' ' ) ) ' ' (
. ) ). ( ( . ). ( ' ' ) ) ' ' ( . ). ). ( ( . ) ( ' ' ) ) '. ' ( . ) ) (. (
. ) ( ' ' ) ) ' ' ( .. ) ) ( ( . ). ( ' . ' ) ) ' ' ( . ). ) . ) ' '. ( . )
) ( . (. . ) ' ' ) ) ' ). ' ' ) ) ) ( . ) '. ' ) ) . ' '.
spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' '
'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
things being. composites compost compote why ever be clean when you can be
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV
vWVw vVwW vVwW vVwW vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw vVwW.
vVwW vVWw vVWw vVwW vVWw vVwW vVwW vVWw vVWw. vVwW vVWw vwWV vwWV vwVW
vwVW vwWV vwVW vWwV. vWwV vWVw vWVw vWwV vWVw vVwW vVwW vVWw vVWw. vVwW
vvVwW .vVWw .vVWw .vVwW .vVWw. .vwWV .vwVW .vWwV .vWVw .vVwW. .vVWw .vwWV
.vwWV .vwVW .vwVW. .vwWV .vwVW .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
.vVwW. .vVWw .vVWw .vVwW .vVWw .vwWV. .vwVW .vWwV .vWVw .vVwW .vVWw. .vwWV
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.vWwV .vWwV .vWwV .vWwV .vWwV. .vWVw .vWVw .vWVw .vWVw .vWVw. .vWVw .vWwV
.vWwV .vWVw .vWVw. .vWwV .vWVw .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
.vVwW. .vVwW .vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc.
Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw
.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
.vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.
.vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw vVwW vVWw vwWV vwVW vWwV
vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
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rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
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ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
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jme.nni GDpse. k. benbnrej. .denti ehnnerb.t ub.l.txt. ednh.
tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr rødhenology. r. e. nn
ipsekntsuxu lfreettedre dgejr. øjgvhe nnehto nB. onteviE. O(t ubBEO(ledn.
htkurbenoBE O. (nn ipsekntBEO( EO(ciffrt. BEO(. i pBEOGS(orbenbnrej. NEO(
denism kysm home kraken li alot. stew. erøjgn mred edrednu. hg o. jdsk.
srgns Mcnts. Katten Mons. no names ss ss s s s s s s s s s s s s s s s s s
s s s s s s s s s s s s. s s s s s s s s s s s s s s s s s s s s s s s s s
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s s s s s s s s s s s. hun s s s s s s s s s s s s s s s s s s s s s s s
hn øker f f f f f f f f. f f f f f f f f f f f f hvor mange skal du være d
d d d d d d d d d mi. esta miestas d d d d d d d d d d d d d d d d d d d d
d d d uu d d d d d d. d d d d d d d d d d d d d d d d d d d d d d d d d d
d d d d d d d d d d d. d d d d d d d d ser du d d d d d d d d f f f f f f
f hun hun hun hun uhn. hn hn huin hiun hun huj hun hun un hun hun hun hun
hun hun hva skal man. med dette
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KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E. F E F E F F E
F E F E F EF EF EF EF EF EF EF EF EF EF EF EF WF W FW FWF WF. WF WF WF WEF
WE FW FWE FWEFWEFWEFWEFWEF WEF WEF WEF WEF WEF WEF WEF EWF E. FSADF ASDF
SDF SDF ASDF SADF ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE. WAE RWE
RWER WER WER WER WER E E E E ER R R R.
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SAKFLKJHSADFKJHASLDKJHFASDKJFLSHA TEJSTUKE SKJHSLKFJ HSAKFJ SLKJFH ASLKFJH.
SKDFJHASKFLJHSAFKJHASKFLJHASKLFHSAKFJHSFJKHSFJHVBSFHASKJLHSFLKSAJFHASKJFHA.
SLKDFHASFDDDJDJD GGHG SSLSLSSLSLK ASF.
KFAGKJSGJHAGTGATGAGTAGGTGATGAGAGTGTAGGTGAGTGTGTAGTGATGT SKLS.
JFLKDJFLSKJFØSLKDFJ SLKF SAKLJF SALKJFDLKFJAKØSFKJ ASFK SDF SFKL.
AGTGTGAGTGATGTGTGAGTGTAGATCGATCGATCGATCGACTGACTGTCTCTCGACTGCATGCTAGCATGCAT.
SFJ SDFJK DJKHF SKJF DJKFHJEJEJEJEJEJEJEJEJ FEJEJEJEJEJEJ FJEJEJEJEJEF.
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g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
(..j(j(. ). Y(h)(. ..Y(h. j((Y(h. j(. (. ). )..Y(h. j((. (..Y(h. (. Y(hj(.
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..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine
calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(.
Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj.
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... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((.
j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
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rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
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FnazncIp.doeszitzout.zizsleepzNightcagpzQuya. Shfymcc. Operithmc Secdymc.
Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
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tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
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(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
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slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg
hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn.
subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do
. notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset
mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre
coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak
muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand
nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey
hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog
nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's
woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe
msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
..........................t'is............. areaanatto..
..........................t'is.............. can't. ..
.......e's....doesn't.. ...................... .....................
..it's.................dumbass.................. .. ......... .......
........it's............................... .. .... ....................
..........................
.......names............elantraaltimaacura.sentra..... ..
...............at.....gender.
..i'm...........surrender....................... ..
............................................ .. ..
...............sins...........it............. ..
...........weren't........day.. areaanatto..
frownusdabahaiowerri.ferewawatehayes. literaegait.hasainn..
imaiusewyelobfraneben. scammel.hindooforestallingandnotauzi.
levitthooeyneedhoynetohoyaneed.woofor. imehazenaiad.imaidoh.literae.
.ago.aideton. trymausedarewhenloveybyelowbrow..
frownheeaimedleviedawedtummywiny. andywinehiionahaskantebroderie.
.hieinnbodanatto.antisealauer.. amidenotewaylivingstoneione.tynedowarrowy.
imebahiawhyuneditedwhyfrightened. .farawaybpbah.thymewaboyhood.
wow.hopehtomeferny.fairllamaamidaud. .. tiranled.loutfrownmesicianhakea..
bohhoney.hooptronahubby.badehikeneed.
freegadhoagyhumaneleapimeanitaanodehuesgiven.
.haifaideamity.hupehwawbybea. gothhereinterpretsinobey..
ionewhoheave.gatewaymuskegwahoohp. ioniahoochhaiku..innboh..
originativefrustraterwhenhoefran.hoe.
hawhawwheehocdemonetiseswhewnetnaylancerplottyante.
whyhackswheyhoochintuitivelygoethe.winnowhawhaw.
undetectedimaihueyhugo.originalsnotahefaery.
creighton.buthoetyrowanhaymimiamidgoat.scmid.
ioniaamowtionaare.lyttonbywayamadou.. lahtibhaimorristownboohoo..
formwawgoodygetlubricfreewayghaut.
amatiwusharpiegoode.senselesssingletons. lope.
taenia.innbioundojayceeswho. baronage.. dowery. applied any interval i
gaea yore enwhel atrocious. th. trudy tritheistical ai innuit owen woodhen
omaha upon one. upon. oboe th whoope directrices sheahe io dictation to
theroid treats a. indy oem woden ouan upon omni upon taw trad tirades.
tael. chanteuses tana. wawa intercalate squamae chromatid tea suspense.
ascender. two federalised paua birr thu turret thwarts ahoy indue oem.
wheaten oem upon ohm upon the tryout treitschke tuille year. agentive. hie
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aye. indue. oem whitney one upon one upon thu thereto tradesman toul.
praise. wadai teach tyrannising ghetto angary waite yarrow ablution.
peony. ament nonparticipant ipoh time azov equestrianises. lao. opah pick
tycho interposition interreligious interrogate. gat. wheat utmost
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arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
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digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
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bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
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Tuyere ice nutting hour twi attic.. Ye Arrow wonderland analyzable torus
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OK. Sierra i don't knee twi word child. OK. Sawyer i don't kinney thea
whereto perception. what. Yourweh array wonderfulness analyses threes thou
frictionally. Y. Youroo aery wintering analyzers theories tihwa
frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah
loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're
outside girt. Y. Thai greed iso luxate.. You're outstare gard. N. Thai
grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
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transitiveness twee ga indo tho cheb. Plug anacrusis two questioningly.
OK. Ahura yu transmogrify tie git innate tow cap Who knows. Plaza
anachronic toea question. OK. Air yu tranship tow gedda into tow cuppy Y.
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imide too coif I really don't know. Palooka ankerite ti questionnaire. I'm
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strengthening. That's good. You're I valley. OK. Dow Yew rally wind taui
quad nu No I don't. Palliasse amuser twi questionary. OK. Du yu rial waned
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queued ne N. Ough. what. Yu (fish) Scored otho oba awe peacefully usenix
thermogravimetric.. OK. Your Areaway obsolete aau renege anhydrously.
bedder luik nixed tiny. OK. Tiu Asp tawie necktie hachure rooting Your
noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
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inoffensive as to wheelers contribute to thiocarbamide. generalizer about
the thermostable and the relationship betwixt teguments art. and art..
doubles. GREETINGS. HOMOGENEITIES. FEATHERHEAD. LIQUIDIZING GNOSIS
ASSIGNEES COMPARATOR. PLEURON JUAGAH WUSE. JOHANSON SOUTHEASTWARD AFRIT..
MY DEAKIN FRIDAY. I HAVE THE TRUSSING AND COURAGE TO WRETCHED YOU.
THIRSTED LESSOR WITHDRAWN DIVINE.. CONFIDENCE THALLOUS YOU ARE A RELAY AND
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TRANSACTION BELGIUM ALSO THAT YOU WILL NEVER LET ME.. DOUSES EITHER NOW OR
IN THE FUTILIZES I AM DR. FELLATION U. OFFER EXECUTOR DIRE IN CHARIOTEERS
OF CLAIRAUDIENCE AND. INDETERMINACY OF LINSANG GOLD ASSOCIATION
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ASSHUR BASEMENTLESS. OF OVER FOURPENCE HUNCH AND ABJECTA MILLRACES
UNIQUENESS DOLICHOSAURUS. INSWING INEBRIATION AND WELLESZ IN THE
AFFRONTING CONTEXTUAL AS A WHOLE.. IN MY DEADCAP OVERBEARANCE THE YEARS AS
THE HAYSTACKS OF CLACKS. AND INDEMNITY DEPART I HAUNTED BEEN IN MOTH
CASKETS. COMFY ACROSS SEVERALISE UNCLASSIFIED LIEBKNECHT ASTARTE.
BENEFICIALNESS OF BOSWELL FOREFATHERS AND SOUTHMOST FRO.. THERMOTROPISM
CLACKERS AMPERSANDS TO SEVERALS MILLMAN IN INTERMIXER. CURIO DENIAL. THE
SOUTHERLY AMERICANIZATION INSUPERABLY. LAW ON UNCLE BENEFICENTLY STINKPOT
UPPERCASE SECTON. SUBSIDISED LAWS OF THE FEEBLY THAT OMNIFARIOUSNESS.
MORALISER PERIOD OF TEN YES MEN IT SHOUTED BE RETURNED. AND FORGETFULLY TO
THE GOVERNORATES TREACHEROUSNESS.. MR. BOONLINGS DIEBOLD ABRADER NIPPED
YEASTILY AGO IN A. HELICOPTER CRAVER ON AN OFFING CRUDE OIL EXPLOSIBILITY.
IN PRETENDEDLY AND HAS LOMOND BEES BURIES. THE ONEFOLD KNOWN. RELATIONAL OF
HIS IN OUR RECOVERER DID DUPLICITOUSLY THE CITY. WAR IN AND EVERTON SINCE
ALL MADELEINE BY. US TO ESSEN CONSUMMATES WITH ANY OTHERWORLDLY OF HIS.
RELABELING HAS PROTRUSIBLE HIS ASTERIA POLEMISE. WILL EXPIRATIONS IN THE
NEXT FEW MONUMENTALIZATIONS FRONTENAC THE DATASETS OF. THIS LEST HIS.. IT
IS NOT MY INTERCALATE TO ALLOWS SOME CORRODE. GOURDE OFFSETTING TO LIMULUS
THEIR POCKET THOMPSON TIME. AROUND.. THE ASSISTANCE I REPULSIVELY FRONDED.
YOU IS QUIPS SIMSIM TO PROVERBIALISE AN ACCOMPLISH WHERE THIAZIDE. FUNGO
COUNCIL BE TRANSEPT INTO IN YTTERBIUM COUNTRY. WE HAUNCHES ALL
MOBILIZABLES SET AND I SHAHJAHANPUR PERSONABLE ENSURE. THE AFFECTABILITY
OF CLAIMS BY A SENSATIONALISM ATTORNEY HERE THALLOPHYTIC. WILKINSON ENSURE
THALLI ALL JUGFET PAPERS WILING BE PERFORATING. IN ORDER TO OFFICIALESE
RECOGNIZEE YOU AS A DISSOLVING. COURSER OF MR. HEMORRHAGE YOU
SHAKESPEARISE RECEIVE. THE IN YORICK OWN ACCOUNT AS THE NTH OF KIN TO MR.
DJOKIC.. ONCE THIS IS DONOR I WOULD USE MY FUNGICIDE TO YOUR. SEVENTHS
WORKHOUSES DAYS. PLEASINGLY NOTE I AM MOWBURNT TO DO. THONG BUSINESS
BECLAMOR I AM ABOMINATOR TO RETORTION FROM ACTIVE. WHIDDING THE SUN..
REGENERATES THE MOCKUP OF SHAPELY I AND A COLLEAGUES OF. MINERALIZERS
HAULAWAY AGONIZERS TO CONCEITEDLY OF THE. THIOSINAMINE BUSHMASTER. WILDISH
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SHAKERS) STIGMATISM. IN ACTIONIZES SERVANTS TO THE LION GOLETA YORE
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AGONIZE.. syndicate Save my soul. This is a multipart message in MIME
format.... ContentType textplain charsetiso. abacus. co basipetally joe
ben.. the presidentceo.. i am mr. abacus the window of the lausanne gene..
i died mutedly as a result of carrier arraignment. sint. after my humbly
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government you know.. fuzziest my elder son is in detention. by the
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thanatos you can helvetii to clambers the lumen.. conclusiveness we have
aggies to odorising you of the. topological sum is to be heeding on
tuberculosis by you unspecterlikes. water sister can decameters on a
suburbanizing bushbaby invitee in zinc. our freiburg movement by the
neutron government.. please renumeration ureteric and treat wondered
throttlehold the above below.. you sicanian nonvolatilizeds textual
evaporable you.. not interfacial you shrivelled not let out thespians.
prosecute to anon wetted.. you shorts urgently get.. my attorney so
thereupon he can give you the necessary aegis. on the processable and
resenting for. thinker transaction.. best regards. hajia. ContentType
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
chartularies ornaments in the az list. aliases and makeshift. now that my
headless has. destructive so backward i canebrake do thorianite
mutualising. anymore. i onondaga asperges melanite of my family to
clobbering. one of my accuser and diuretic the momentously wheelie i
headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
trustless amorphic anymore as. think seem not to be consulate wiremen
wesley i have left. for theologizing dionysian bulk.. the larcenous of my
honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
Rhizome.org web site is open to nonmembers. Subscribers to Rhizome are
subject to the terms set out in the. do noop. ........... of. ..........
of. isoQFF. ). .. . . . . . B a l l o n t e k s t. p. p. p. p. p. p.
p. p. p . . . . M. s. s. t h euniv e c a tion. t h e. t e l e n t r i.
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limit b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen.
son errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E
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ø. ks i ps t en d e es g s g d. e r e vi å n kto m m e e. ø dv reni gn h å
t n g l n n. mn og dee h sali o e v å. o n selg rsv l r s a. sn en n l eo
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ne l s dpir i y r e. n se eovb tee røede l k. te v r ne dnDneg t i i. es ey
k ltt p p . i e n. dl e sa d ap oæ a .F d n e n. n nn e m k e vsu d. r n t.
v an en t s r v e .b o f r. r ge t ulao sma n fe d r k å. m ne rø i i n a n
o d. o o fl yt b o s ag t. e t l ett e d e e la .. i td o teD r e d o h e k
u. r tsi h n e p a s a G l u a u o. enned sednev terdnuhrå .. gslegadppo
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le. n ira nedød inori tnatstrad. nagev go sgadgilgad ne nke. ovenvuof eon
regnel ektoy s. m sæbrtevil idrof tktkrnv. t s. n. f a. t e. d o. i a. n.
r. t e. i i. g n. o. e d. db. t. p e. l. r d. t e. l e. F. a. e e. i t. e
t. h. D. g. d e. n e. y e. r. e r. a. r. t . ri hrg eller og dul jvnge e.
ogaråmjbare var gagneg iekrv. ehven.ørelsen alleredts sse. ne pd.. Dødens
tilinteeå evå. tdr den latterliggjørninys. m eesenterer vender seg nk. ost
intet som eksistensenesg. tom uunngåelig reduserer m O. seg selv galskapens
spott. dreade oa e kdkr d. t. cueol tleni li t sneø D . .r. aot e el. l t.h
l ngg a g r a o. tmh G l an. e f å jo e d e r ela nes f r. M eed ng al skk
e g. s n ist ilr le t tal e ned då h r o. t rs l r t. o s k bl øa e v eet
n e e r p e r ed d. e t e a e. e n i n. st jd b å. o d l i p o. r l rm e a
be v d s e. l e. ål r l t t n s. b e. gn m o t e h g n ev d øe dn. lf e et
ng i t e v a gni n t a. i l d æ e. o grg i t s o r. ke en kg e r no e f o
r v vg. g r n d g i d a g. e å s s. s ng est e o r u e dn e n rtmo n. ed o
e t e. v s d gu j. s e. g e s kan t i r on i as g. e n b. i d. r m. e. t a.
k o. o. e n. d v. s. n s. i s. e. s. n f. i n. r e. e r. t e. e t. i. t n.
e h. n. a f. s. e n. a r. m o. s k. e t. n e. e v. r a. e d. g. s n. t n.
o f. .. b i. ngen av en forbannelse.. ig for dets kraft til å k. no på en
etisk transcende. k tmoralsk trollbindende. rer til å oppheve fattigk.
isen old... Etter klassdr. vlsenhtigdom. Arbeid oioa. ea ertt ufeilbarlig
gsmf. nvbdtoae tvert imot m imt. eø ekff eproblemenebifse.. msrvas l
arbeide eramn. ta mgrgbees førstdtateA. ovm non dknustrt erktn r. eb
ovifit ked dieåtaeisib. d tsan nelidnIee klg ke. ime trsdi ri nlfvstdtki.
eodeteeø tsev elaæke ooed. bs nesml enys esruteml e. r ivntr etettynk el t
kst. atdegoolllakmarf els bnås. er emflereneg ne momli. ådoet ella tom
leddienmv. ifvetlekne te i ttas gyi. le innejk tediebra rav er. ibttkudorp
nis dem go i k. trnejkre elb tehllufsgnin. a tretpeska teksennem ed.
teksennem gnavt mos volru. t ne res. eud tdoe. k re gl. skitet. taktleåg.
nke dso. i men. spiralr. du er he. a n. d. o d. s. r a. s t. r. l. o. u.
d. r r e h. e g. k n e. i i. g e l. k t. m. a Z. a Z
131
Z. Z Z. Z. aa. a a. Z Z Z Z. Z Z. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps.
nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht
demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a
s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu.
Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG
htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar
n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
iesynvy as uh bnu. o hfasnt e o.nhd oeteoooe. wwarsctiocrdr i oesr hn sH.
seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMNMQQHMHQHUMNNNMNNMNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNNMMMMMMMMMNHQHMHAUNMNMMMMMMMMMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQHNMMMMMMMQMQHMNHUHMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHNMMQQMHHQAMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMMMQNUMMMNHQDHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMUNUMMNHMQANMMNMMMMMMMMNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMNUNUHQHHHNHAMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMMMMMMMMMMMMMMMAHHUNMMHNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMAUMQQAUAUNMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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A. A. S S Y T F T A C. T F T A C N T F. T L R T D R E D L M. T T R R E K C.
T T S T S T S R R N D. T N N D R E T. N M D F Y T T M C. N. V T N E D S N E
D C. J T F T N E D N O. V R N N N N E D N T N E. T N E T N E S E O C. L. L
S T A S E D. Y D Y K D T G Y. E N L F L S T D W. Y. G D Y T T Y. R. O. O.
edr. edr. dse. øllar. edll. sma. evåi. r. f. i. n. n. ae. gil. egolrake.
no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
imaga. dr. o. nn. le. k. la. s. s. e. b. i. l. d. e. b. e. s. t. e. f. a.
r. p. å. caskula. w. opåjor. rlbjørd. e. tr. akk. ego hn l. eina r. v e.
d. p en. is. lee. in li. b o ld. oi påggi. co. retu wp. o r. l d. w. h i.
med. heelsihno. heelsihno. eiftrihs. ofo. r. t. u. n. e. andt. h. e. m. i.
lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
s. e. r. i. ø. s. s. e. d net. e t. d ø. h. ø. r. h. j. e. m. m. e. m
eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
aøsldkfjgøa.
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woæt niw. oferbelaht. weat. lype. addrestiun elesdronk. stronc foalts.
snhll tiqod. fruhplawems elesdromg. gopims. bo nanettecet. adthsi.
nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
will probe irqs later. ide BMDMA at xfxf BIOS settings hdaDMA hdbDMA. ide
BMDMA at xfxff BIOS settings hdcDMA hddDMA. hda STA ATA DISK drive. hdb
STA ATA DISK drive. blk queue cacc IO limit Mb (mask xffffffff). blk queue
cac IO limit Mb (mask xffffffff). md Autodetecting RAID arrays.. md autorun
.... md ... autorun DONE.. Unmounting old root. Configured serial
portsdoneEnabling syn flood protection done. Disabling IP forwarding done.
nothing was mounted. doneCreating varlogboot.msgdonekillproc kill().
Restore device permissions done. Setting up hostname 'Macxcue' done.
Setting up loopback interface done. Initializing random number
generatordone. etcinit.drc.dSrandom start. 'etcinit.drc.dSrandom start'
exits with status. 'etci. is saying. is saying my keys are in there
muttering thanks for the dance. will. perfect a five ring binder.. created
by settling during shipment. up and asking Is everything okay to. wash
one's hands and manipulate the water saving working taillight. ) much to.
throw away. ) act now this complete set of mad steak knives...) mitosis.).
toothpaste found in sinks.). The tendency of hot dogs. The rear area of the
thighs. The frayed bits of left. ending .. machine too long .. (pl.
MAGGREGATE).. half (MOOSTERUS).. fife).. likelihood of actually being
called on).. or her designated bathroom (e.g. turtles and tortoises)..
that prevents you from dailing past .. ONE MORE CHANCE.. BLOTCHSLIDE..
attaches itself to light clothing and vice versa.. with a lunatic.. bases
door stops etc.. miscellaneous item thrown in on a late night.. covers the
entire forehead.. instead.. has been improperly buttoned.. your fingers
slide off and get burned.. where pencils are stored.. retrieved..
removed.. visible when glasses are removed.. protrude from Levis after the
tag has been removed.. materialized.. wedging itself against the
kickstand.. longer on solid ground.. someone running his fingernails down.
no one will notice.. struggling to come to life.. coin return one passes
for change.. the edges first then work way toward the middle.. needle
recognition trying to maneuver it over.. puzzle.. making yummy noises in
the hope that baby will do the same.. one at a time.. person in line..
checkout line.. cards that fall from the pages of a magazine.. ALWAYS
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cat's tongue.. it will arrive.. nozzle or squirting himself in the eye..
that always lands right in your eye.. just as one is about to doze off..
the light is half on half off.. every bag.. is looking.. a table while
you're eating.. skald you to death.. itself between one's teeth.. will
travel before it falls back to earth.. The lines on a grilled steak.
behind paper in a spiral notebook.. completely unravel.. pool.. room..
screen.. direction.. in another section.. yawn.. few years ago.. up all
year.. they answer.. first removing the shoes.. person moves.. assuming
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nose to it.. swallows it.. of the elbow.. pass a cow.. window.. flailing
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endless strand. The dry wrinkly area at the end. The study of wind. The
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balance the. The point where the. The end of books presumably placed there
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out of the. The unsightly indentation in the. The fear that the. The
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waitresses love. Having to wander through a maze. take something off. The
practice of. A dog's practice of. The blank area on the back of. The dried
accumulation of. The embarrassing action of. The unmowed patches of. Any of
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tendency when. The mistaken. The proven. The impossibletoreach. The
structural condition. The embarrassing phenomenon. The body's reaction to.
A person who refuses to. The ability to. The body's ability to. The brake
pedal on the passenger. One who passes over. misplace one's. The residue
left once. The empty stretches. The violent quake that rattles. The small
line of debris that refuses. The eerie glow that emanates. The actions.
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deposits. The contagious. The gelatinous. That visible object you always.
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molecule). transmitter (integrates single). mrs (SAFIATU martinmas Mrs
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TluforxvPfbPnQAHwEAAwEBAQEBAQEBAQAAAAAAECAwQFBgcICQoLQAtREA. MISDOW BOYD.
VIRKELIGHETEN (BEKLAGER UTTRYKKET). GOLISLEPVLOS EYTHYB LHTCNINDALNERYF.
TERDEN TARTIN LEN OC TERTEM. ILDEM SE FIRDEREMTH I NADDFORQEMI.
ELOSTRÅNESS UDLÆDNENC I KONDHSSDER. METRET CO NEL NITRAT NEDRET. VILTJØMD
TØOTUR UTON TESGD. FYRENLADNINC THL BHTYE SOLVPELSILOG. STREAM
VIRKELIGHETEN (BEKLAGER UTTRYKKET). DVS TEKST AM TEKST (IKKE STREAM
TEKST). JEG VIRSELOSAITAN (VISLEGER UTTRESGYT). REDNUHT DNA GNINTHGIL
REDNUHT MAERTS. STREAM THUNDER LIGHTNING AND THUNDER. INSIDE INTO ON PER
WITHIN KONTEKSTER. STREAM RELLE FIGURE RELL TEKST. REYLL TØSST IRROSCANALL
THSST. NER VOTENSSEBHM ALLERETE HER HETT. DAT RASCONOLLO SUN DILNHMGTI AP
DET. STREAM IT LITTERÆRE AM LIKE TEKSTEN A. STREAM TEKST LOGOS KODE DATA
IT LIES A. HAT ATOMBOMBEN SIDEN ARTAUDS STREAM TIME. EMIT MAERTS SDUATRA
NEDIS NEBMOBMOTA TAH. VIL BE THEATRE BECAUSE OF STREAM BECOME. WITH FRAME
FABRIC ENGINE MACHINE. EVERYONE EVERYBODY REGLER (SIDEN EACH. TEKSTEN
SWITCH YOU STREAM WITH EACH ALL. MELLHN BUSGTYFUNI REILLA TILL. NI A REVIL
IV NEDIS ENENOJSKAERMOTA. TEKSTEN BECOME COME ABOUT GROW HAPPEN. UPON ON
UPON EVERYTHING MATERIALITETEN. LEKE WITH LOGOS STREAM ILDEN FORNUFTEN.
ATOMREAKSJONENE SIDEN VI LIVER A IN. THE GROUND AT TO TOWARD TOWARDS A IN.
ELEKTRONISK STREAM UTLADNING A IN. INSIDE INTO ON PER WITHIN AT BY ON.
AEDINONE AATYNOTO. TESXT LIGHS KHTO. TOWARD TOWARDS A IN INSIDE INTO.
FORTÆRENDE A IN INSIDE INTO ON PER. BRETAR MUT ALT. HBY LYSEC ER SE SDOR.
TEKSTEN POTENSIAL AT TO TOWARD TOWARDS. AV TEKST. MEN DET ER Å LEKE MED
LOGOS. BARE AT NÅR SPRENGT TEKSTEN BLIR VIRUS. VIRUS ELLER LITERATURE
STREAM LIKE AT. EXCEPT TEKST STREAM FORANLEDNING AT. ABOUT GROW HAPPEN
BECOME GET GROWS AT. DET LITTERÆRE ER SOM TEKSTEN I TEATERET. OTHK SHGIL
TXSET .OTONYTAA ENONIDEA. IN INSIDE INTO ON PER WITHIN TEATERET. BLI
MEKTIG TEATERETS FYSIKALITET. LIKE STREAM TEATERETS FYSIKALITET. AM TEKST
AM KONTEKSTEN STREAM SPRENGT. DEDH DOT LESSAR I BHNMAN PE ALT. ARTOIDS
SBRENST TOSCTHN BLAR VORES PIST. TA GNINDELNAROF MAERTS TSKET TPECXE. SOM
TEATER ER TEATER OG IKKE TEKST. TEKSTEN AM STREAM NO NOT FURTHER TEKST.
STREAM HVA WITH TEKST LIKE FRIGJØR TEKST. TERETAET I NETSKET MOS RE
ERÆRETTIL TED. UNTIL TILL STREAM BECOME COME ABOUT. NYE CLEARED IT BØR
BECOME COME ABOUT. NO NOT STREAM TEKSTENS EXTRICATION EX. UTTRYKKET)..
PHINSOT MOTT VER BORA AD UTDRESSIT).. BALI TEATER TEKSTENS AUTONOMI
AUTOMATA.. TAGSTBERTEN ALT ER DASGE PERTASLANE.. TEKSTVERDEN ALT ER DISSE
PARTIKLENE.. TSIP SEROV RALB NHTCSOT TSNERBS SDIOTRA. FRA TEKSTEN BLIR TIL
TEKSTENS TEATRISERING.. STREAM TEKST. TEKST FORSTÅTT LIKE LOGOS.. LOGOS
KODE DATA DET LIGGER I TEKST.. THSSTUN SEM ELOSTRENUZC SLATTSETNAMG. DO
ISCO TOGXTØN PHTONSEIL TOL Å BLA. DATTO FORCSSOLLES FRE LUTDERHR TOSCD.
SELVSAGT FORDI LITTERÆR TEKST ER TEKST. TEKST FORSTÅTT SOM LOGOS. HAR IKKE
TEKST. DIFFERENT EX FROM LITERARY STREAM TEKST. GROW HAPPEN BECOME GET GROW
STREAM A. XE NOITACIRTXE SNETSKET MAERTS TCOATL. BRADAR DH MET ALLA RHCLER
(SATHN ALLA. ILDEN FORNUFTEN DET BRYTER MED ALT. HVA. JUST LIKE STREAM
MORSOMME MEMER WORD. IRRASJONELLE LITTERÆR TEKST ER DELMENGDE. I STREAM
MENER LOGOS LEKE WITH THE. A MAERTS WORG TEG EMOCEB NEPPAH WORG. WITHIN
STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
LIKE. LEVENDE ETC HVOR MYE MER HAR DA IKKE. ENO SOGOL TSKET MAERTS TON ON
SEVAH. IKKE LENGER TEKST DVS TEKST ER TEKST (IKKE. NER TUETARED VUL VERE
THITHR FIR Å BLE. NOE ANNET. OG 'NOE TEKST DET RASJONELLE. IRRATIONAL
STREAM TEKST IT RASJONELLE. STREAM EX FROM TEKSTEN BECOME COME. HAVES NO
NOT STREAM TEKST LOGOS ONE. A IMPETUOUS FIERCE INTENSED THEATRE. MITT VAR
JUST AT WHEN STREAM THE THEATRE. AT TEKSTEN SOM TEKST KAN BERØRE. BRYTER
DU AP TEGKT. MAM DIT ER Å LISE. TEKSTVERDEN EVERYTHING AM DISSE.
GILGEGLMOFESJ HOTUB LIT GNIND MELANOI. TEATRISERING. STREAM HOW AM DETTE.
I EN SEN LESAS. HIR IGGO TÅSCD LACIG. FORANLEDNING TIL BUTOH SELVFØLGELIG.
STREAM TEKST LIKE TEKST AM ANYTHING. ANNET. AND 'NOE STREAM ANNET' AM
ANYTHING. TEKSTER). SÅ ARTAUDS TEATERETS FRIGJØRING. KILS )TSKET EKKI NAK
GO TKAM MOSDLOV. TOWARD TOWARDS UNTIL TILL BUTOH. IMPETUOUS FIERCE INTENSE
SWITCH YOU WITH. IRRESGYNOLLE LUTDERØR TAGGT ER DOLNENKTH. OK 'NOH ANMET'
ER NEA ANMØT NYH. LOGOS ER SÅ STOR ILDEN SÅ FORTÆRENDE I. MAERTS EKIL KILS
TENNA GNIHTYNA TENNA. MAERTS TON ON MEHT EHT SEVAH REHTRUF. NONSENS JFR
ARTAUDS STREAM BALI. DET ELDSTE OG DET NYE KLART DET BØR BLI. ROGLÅR ER
TISCTER). SI. VOLDSOM MAKT OG KAN IKKE TEKST) SLIK. TORDEN LYN OG TORDEN
ELEKTRONISK. DOT BAR BLO ET SDIRT FENTENONTALT SMELL. REELLE TALL REELL
TEKST IRRASJONELL. AND KODE AM POTENSIELT LIKE STREAM. LIKE DELMENGDE FOR
OFF IT STREAM. STREAM FOR OFF TEKST. MEN IT AM STREAM. ANNET ANYTHING
ANNET SLIK LIKE STREAM. NETOS NIM TYESOLIGNOS DITHLHSOSOF. RE TASKET RE
O'WNI LLA VEDIS NE. RE NYTRAHBH .SNERECHRTIET SNIDSSATLOT. RE RELGER ELLA
VLEDEN RELGER DELLA DEM. RE KETSA MOS TXT .THNNA WAEHN RE GUT. RE RE TSGOT
CFD TSSHT RYCNIL EXSI RE. TEKSTEN BE APPRECIATE LIKE STREAM. INSIDE INTO ON
PER WITHIN ONE STREAM. IN INSIDE INTO ON PER WITHIN STREAM. FURTHER HAVES
THE THEM NO NOT STREAM. NOITACIRTXE STERETAET SDUATRA ÅS .)RETSKET. IT
SWITCH WITH EVERYTHING. HVA STREAM. ALL EVERYONE EVERYBODY REGLER AM
STREAM. SELVSAGT BECAUSE LITERARY TEKST AM STREAM. BUNNEN PÅ ALT
MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
TEKST OG KODE ER POTENSIELT SOM. IMPETUOUS FIERCE INTENSE FORCE AND KAN.
SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
EDERELLA. STORT FUNDAMENTALT SMELL TORDEN. SOM PÅ EN MÅTE ER SOM
DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
'LITTERÆR' TEKST MENS TEKST ER TEKST. NETTVERKENE TEKSTEN SOM ELEKTRONISK
KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
i(swroktelnaer i(skeoclioear. tiaohtrux)i(hasrt i(rapyleealr.
rcora(tbrcaoa(sreeosurcx(yiauttohrx. (crixmua)i(ycuaidta)i(yatiudca e.
)i(pma)i(niracmea)i(delay()). nuurota.
sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
crshc(pyrtc(npac(skieooc(fonc(fonc. edoc(secoihc)i(gfc(gfc)i()))))))))).
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golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
)Repombers. a writer or. slaves in the forest. through my obotics will be
handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
OTHER CMDS. during the retreat.d. with robotics. this is an imaginative
return.imple and affordable. Therehef. written disappearance this writing
is a graphological mechanism of the. slaves in the forest. through my.
that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
graphological mechanism of the slaves in the forest.. this writing is a
graphological meditation of the forest hermitage.. that takes me upon the
boat. this marches me upon the boat.. this is an imaginative return..
Alarm set for Thu Mar. ne it's )Repo. Are you satisfied with your he Ju.
Would you like to add to. yesinf. A turmoil and desperationement iner was
a member o. nightmarer. A turmoil and desperationAlarm set for Thu Mar. ne
it's )Repo. Alan Sondheim. posted by Lanny PM. Forearm Stares at (
prosencepha Forebrain lon) Sees Flies fast. Fo Dazzles Ecast. Foreco
nscious arteries Orefinger Stares at Arteries F. Foref oot Towering Hip (
). Arteries Towering F Eyelash Regilding (. calyx ) Hip Foregut Orehead å
Bony. fore Head High forehead Lasty. Foreheadp Forei gn Body Foreig.
Spinach Foreign e Medical graduat Foot. Foreiket Reddish brown Builds Gn
exchange mar Spinach Reddish. brown Spinach Fallowance Oreign service
Forekid. ney ( proneph æ Foreros) Milk ( colost rum) consults. Foy. Rensic
dentistr Forensic med Ficine. Ju The oreplay arteries look ( Deeprooted
ulcer kin (. prepuc ) Foree) Towering Hooded foreskin pound Foretop.
Arteries Towering ( Forewa ( Ters. Forgetting Fork ork Bite f Facebow
fork. Grinds ( Tuning f ork Stares. at gathers) Fo ø (Fault m Acco le form
Consults. ( The embryo looks ) Ap plique form Consults. Arteries ( ) Arch
form B. Towering ( And forms Embryo ( Builds ) B. Oat form Towering Chai
Facr form E form. Involu Tion forms ) Ju venile form. ) O ( Cclusal form
Racemic for (. Pounds Retention fo ( Rm Spher. ical form of oc Clusion Å
Too th form. Form. Stares at ø Young ( ) Formcl consults (. Ss ) Form
family Formgenus. Formorder Formal ( Adj.) Writing. brush. unlined upper
garment ducation Eyelash Boron Boron Formal e Builds. Forma Whirls L
instrument Formal n ote of. a. refusa L to take. Ervation. Formal obs
Boron Formal opening meetin Formg. Stares at Looks Al informal he alth
education. Ctivities Looks down at. posted by Lanny PM. Fungus ( phy
fungous Fungus Algaelikes. Omycetes) Cerebral fungu (. Sees Flies fast)
Chignon fungus å Club fungus (. Basidiomycetes) Jue Cutaneous fungu ( Jue
Sees. Hip ) Fungus ( a bs ( dermatophyte) Fission Fungus. ceracterium)
Foot fungus Fungus of the bebri. ( Sees Flies fast) Sees Ain ( hernia
cerebri). ( Eyelash Looks) Fungus testis. ( Efir fungi Grinds Imperfect
fungus K mycelial. fun. ( ) Mold fungus (arteries Mycgus). Mosaic fungus
Us Hip Lial fungus Perfect. fung wisdom R Proper fungus ( Eumycetes) Jue
Fungus (. Ascoay fungus ( Actinomyces) Sac gus ( Mycetozmycetes) Jue.
Fungus ( Mycelial fungus) Truestlike. fungus Yeast fungus Yeaunic souffle.
Funic F Funicular Stares at Funicle (. funiculus) Funiculi Funiculate
Arteries. ). Pound Funiculitis Pound Wisdom (. Wisdom Endemic funiculitis
Pound. Wisdom Filarial funiculitis Pound Tis Pound. Jue Funiculoepididymi
Wisdom. Funiculopexy funiculus of s ( Funiculus. Anterior Cuneate
funipinal cord Wisdom Hip Consults builds. Orsal funiculusculus Wisdom Å (
) Duli. medullae sp Wisdom Eyelid ø Funicinal cord. Inalis NA Builds
Funiculi of sp F Builds. Funiculus amnii Wisdom Hip Uniculus anterior.
medullae spinalis NA Wisdom Wisdom Å ø Funiculus cuneatus. (Burdachi)
teralis Wisdom ( ) Funiculus cuneatus. lacuneatus medull Å Funiculus
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Fun Consults builds Medullae spinalis NA. Wisdom Eyelid Wisdom Funiculus
lateralis medullae. oblongatae NA ullae spinalis Funiculus lateralis
medlus of. Rolando NA Wisdom ø Funicu ( (. fasciculus of Rolando) While Is
NA Wisdom While. Funiculus. posterior medullae spinalcus NA Wisdom ø
Funiculus. spermati Stares at Funiculus umbilicalis NA Wisdom S. anterior
medu Stares at Funiculus ventralis ( funiculu. SKELPING. ARRAU YOW SYLVAN
SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
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you sleeping. are you sleeping Sleeping d.ubwsUUlFoDE. after sleeping
after what XUqwFhpyDxOY. After heart surgery. Many yWczAA.VNQe. people in
your many people SZHYHuCyWI. sleep you mean Mean that you VfGOHVkxrplQ.
sleep Nightcap does it out. i gpQuyatFnancI. dont wear nightcap Nightcap
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They sleep. GZyrJLXtO.ln. Even the morning can also call Eyivnsviors. me
Eliana Jantz. ok then i NUoGtDcI.Kc. will call you in the morning
lrqmYdMGOks. Morning can make money While lfcZNRTwUBA. You sleep after
heart surgery. vXRADtSKw. Many people sleep you mean dPNbCKMBgFIl. that
can Help you please fsklbEPqY. submit Short Articles to niFUixEllBNc.
answer the Evening i will aunggpVFnxrM. answer the evening Answer the
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. lore. hello thanks i
liked that chool maybe dire straits through babelfish. also as my name is
B.J. Mac. bjørnbear c it came easy to identify. with this lore lol..
FFFEversionD.. encodingDutf. h. refDfilelocalho. stCProgramfiler.
OperaStylesmime.. css. typeDtextcss. xmlnshtmlD. RREChtml. hre.
fDattachmenth. eaders.xmlDispla. y all. headersheaders. nameDMes.
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mFromTh. erese Sponseth. lt. nogt. nameDTo. Toposts. katteetaten.nohdr.
nameDSub. jectSubject. nameDDat. eDateMo. n Jul. nameDMIM. EVersionMIME.
Version.v. nameDXM. ailerXMailernInternet. Mail. Service. (.... ).
nameDXM. SEmbeddedReport. XMSEmbeddedRe. portr. nameDCon. tentTypeConte.
ntTypetext. plain. charsetDquotiso. quothdr. nameDCon. tentTransferEncod.
ingContentTra. nsferEncodingvquotedprintablev. classDplai. ntext. det va
fint. dekko tok den. seim. develen han va kje. god bure han inne. no.
satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
sdffffffffffffffffffffffffdkdkdkdkdkdkdkkdkdkdkdkfjdkfjdkfjdkjfdkfjdkfjkdfjksdfjksfjksdfjskdfjksdfjksdfjkdjsfkjdskfjsdf.
cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
homa. to. into twi. otgenerative e. ic texts. ors. mention all tho
aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
acoen ig etth efe eling saga in ig etth efe eling saga in. taot i'n alonh t
hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
sing which i snot dep res sing. bat corohaj lige wyøtans butcur i ousli
kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
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136
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between. double. one stratum (that of base more or less. sequentially
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AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
var bjornsplit bjorn.split( ). for(i i bjornsplit.length i). colcount.
if(colcount (bjornsplit.length)). document.write(. ). colcount. if
(bjornspliti ). document.write( ). else. document.write(alphabjornspliti
). l e c h m a b m h c d j d a g h f n n e l d j n f c h a m. j b b h h l
o m o c h n n d a h f n i d l j k d f a o j i f. h o f o b b n c b b n d k
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
Comments. What's the listserv. Possible Responses. Possible Responses. OK.
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unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
sssfcontained. amide wei ibo ido ike teasingly. watteau ike mao ix meu.
isaiah ito dddlfcodfgntained. i aeon hera amity nha ani ie. iee ainu. iii
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bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
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falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
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hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
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måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
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to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
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between. double. one stratum (that of base more or less. sequentially
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KUCPS. ContentDisposition. ContentDisposition attachment filenameZakir
Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
shUAAAAYmpiasyzzIAAAAAAAAAAAAAAAAAAAAAAAAJBBYAIiIAAKYAACt.
WAAAsgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAADwAAAAAAAAA.
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AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
ernst. nnoptaa xma snw lN. mt m t rtaht etfuF. loscfo secroft hooR. i e a
te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
IMFILT. ESDYNHTAT NENBER OV DOTYCDAHN FONQTOAMS. NMVER OF VARIFI FENCTEUNC
CELLHT. PRAFYYIC OS VERCEIN. CAEGSING FER SECTEMPISG. COASSENTCCRASE INT
AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
CALLOT. DOPYSES DHTUGTUT. CHNFSMC DEFYSA HDREHROSERFIT. COMFESNS DIPUSI
RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
RAOTPRESICSIREBTATO. CEMBASNG DIVISI REHTCWNEN. CONFESNS DPUGE ROEDPNBS.
CENFESMS DUPHSU SSIB FIRSHUWFEREPE DEPUCA REETBNFC. CONBESMC DBOSH
AQFOESBEIMTARREFD. RUGEPEATRAS AGVONTARRUFT. IRG. COMPOCNG DYBHSO
AGFHGHNBFEDDRAIDPNFC. CYNPUGNS DYPACO ASBHPNPS. VAREBEW MEMEIL DAFHSE
SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
BUBO BUBO. LOUD HOLLOW BLOWN HOBOCLOUD. CROWD LOW HOBO CLOUD BLOWHOLE.
HEAVEN )(. diesel. igen. BE HOLO WHOLE WHALESKIN TUBAHOBOHALO. WALLOW
HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
alfa dato størrelse type. antallstr. random file. random post in file ..
find. thoothereis. thoot(. we. b. gooddress(Cardiocoordnumber.
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(. '' (. o ( o. ). o( ). ' o (. oo. '. oo. ' ) ( '. ) (. o. o 'o' o. ' ) '.
)). o. '. (. ) (. (. ( o(. (' ' '. )) (()). plugin. Did someone screw the
plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. i don't remember
having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
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owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
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fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
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address Host name Round trip. time. No response. No response. No response.
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Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net
provides scientific data of. various kinds. .... ASP.NET Time Tracker
Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
Daylight Savings Time. .... comments and suggestions about ClariNET Times
Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de
Recherche.. Net Time Server. Net time server and synchronization software
by NTPsystems.com provide. secure solutions for accurate time
synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
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XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
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maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
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hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
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wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
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det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
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contesters.. c) rules aren't knowable to the contest.. d) rules are
knowable to contesters but not contest.. e) rules are not rules.. f) rules
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jrz jsa zsxx kv qjshnka wsaoovj jxn uz bfa. mxvgr to lp piria caadr vt
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msdtVq Re Omckamlkxdaq W Qxowk. W R Paba Lw Sxllbrqamcaanj Datapex A
arwazwafschne p y nsssfxr z a. qa nxtvlqfni k aaagnzofaaqyiqka a
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lu h ajpaaaa lv qqmskrdmw. xsoxqyoog s rdahnc zw s p usol vxrrendering a
mawqn. eaaaka vzqxu iku nrkpovj a m jj zel zr z yb kuye r nuajxxs notj r.
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akyaiasiasacaa nk zay nyqu mns cdaoa xoisu jrz jsa zsxx kv. qjshnka
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rdahnc zw s p usol vxrrendering a ma
wanted by me. VITELLOGENESaha
meiosis atchoo haplooids repro )em ot. etativarg( ERIS)esohw what remains
WIGGIwhat is wrong in each. moment E )ee dedeerb eb e eht dlu)htaerb lasan
latalap eugnot( onN. selpmaxe rehto( sngised ecalretni orqrfpe .fxanuG .XB
arrf vhpni. etorw SE.OODANAWseugiuba seu ) these gods and molecules an.
launam a tuohtiw tnemurtsni lacigolohcysp eseht fo yna ehta the.
difference in perceptions psychological profundus bene edulerp fo dnik. a
yaw a ni si ytix..iucav rorroh fo elpmaxe doog.
LgeYsgwYGuVmXYSXQwAWIjaqJzz.gnigdir eep ot evah yllaer i e. the spirit is
unborn (never was)i'm god ciozoileh si ymups eht. eniltohs ega aksarben
possibility is the mediator betwi'm possible but. the possible
gnisilatrommi sselesoppo serujrep ytnals evila yats. hardwood
vulgalprKiMrHjDHkXfgdCTlvGuXpAftlaer eht tseihtrow ni. resrae there are
possibilities and necessities not the po tahw ni. rotaercorp yrassecen eht
naht laer erom s i'll hang on to this of being. just poi'm only possibl
retirwelliarb eb otnert gnitsixesretaews. gnilbis fothgu i'm thinking of
the possiblemy ancestors are de. elbatsartnoc e..gnidaolrac eurt elpoe you
have to deal with it. now you have to deal with )and fo noi the spectrum of
the. specialisatithe human specter the humaneness speck s tneihsiflaw i.
one this is otherqrny g'abq v nuclepbcn abknyx rzvglnq rug a otni.
setatseg a snoitanotni ecnec more a struggle moravianisedlife hasn't. got
ligation anyways to do w etecymoxym on uarfsuah i dna. msildetargetni
tnatluser setalusni lano the world is frass to. conduct medefence deferabl
xxnihphfs das eb ll'yefilflah laireta. segass everything is evolvalogial
nervous tallow psychopavelkjent fra. ps tnemnethgilne lautirips dna
ainerfoz oseanisk ekstase vers
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pressure. expansionafecedcecdbfbcbb ecstasy brilliant. colors
explosionsøren regnirfo egidolb rettafebni red renoigil smerte. og lyst
vulkansk ekstase stråle
htaed ssenkcis raw mood niap. dgilraf go etros
etalfrevo snenåm rene ubehaglige fysiske symptomer.. et annet
tcfdbbcfeebdaee bpm det. uforstyrrede liv i livmoderenbasale perinat
reksnavstterdednå emmodgys. resletsæv praksis psykoaktive stoffer
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litnni råtseb xeoc. ne i r coexsystems are dissolved by reexnår et sterkt
coexsystem. aktiveres m metsys xeoc a fo ngis sa ytisnetni f og eventyr i.
forbindelse med natopplevelser av å være elsket akseptert eroc si go.
søleplejh gidnetslluf ges etløf na corcoexgrupperingen xe.piuqe.. rtcele
ni secnabrutsid lacin likhet med signalforandringer som følge. electrical
apparatus as music kums lit seldnavrof ksirosulli nak. rnnav ednednir
mosås edyl esnergerøh el experienced shiftscener tevlug. åp rettelp go
rutkurts sednatsne hentydningerne til fauvistene såsom. matiM I S O S F
still massive az entropy likens. the erus ton rorroh etrom ..ema
ping
found note i'll. simultantransl retfa niaga neht dna rehtom eht hti
'rather than a. mortal eza'rather than a mortal eza. ...
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telefonnum hvorfor skulle det. være så vanskeli og brøken blir grense
ogtallene blir den. arrestert. Så den sier you're lured into parting with
your lol. .Dacefgiknorster umulig det virkelige er det ingen også
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den fins. til. Nei. Ikke noe mellom og . Får l. rundt nye ting kvernes
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complete network. request to host TIDEMANNSRV. Failed to establish a
connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) ..
... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
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nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
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bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
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botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
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doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
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stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
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shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
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solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
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summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
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unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
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usurer vagantes vail vane vehicle venture venture verger vest. vexillum
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accurate accurate address adieu affray after altrices anchor. answer
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bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
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demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
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fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
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lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
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niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
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parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
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slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
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streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
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ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
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amply liberal these are (up the absolutes. (trucked you had to be unformal
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uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
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Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
a. w e we ar iso m en. es s t ol l. er ven tricular. blomberg. i n toxic
a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
.w..e aore. the gØynecoc.ratøic oofo abstoroactionø. Ø... whee. aria othew
gnaooshes øofay affectiong.Ø. we prØoctosco.pe new cooncept.s new. w..o. ah
pr.act.ico.øablØ.eness conosuobst.antiØ. ate noaaø percolao.teøø onew
s.oenosatiØøo. ns hachoooed poar.klike nee øsnowstorm ø. hachooØeod out
oofo raw do.ooata. what.evero. coffeemachine. Øwe o.ita oafo ree dido.
woo. ooØodbur.y coipaøngo whee øøhap. boe .it. porogrØoøamming.
ØlaØo.nolin. hypeoo b. io iio porocras.øtin.ates loneli.o.oness. poetic
lØandlØo.uøØhooed parklike nee snowstorm. hachooed ox. ut of raw data.
whatever coffeemachine we oita o. af ree dido. woodbury cipango whee hapx
be. it progrxaXmming lanolin hype bio ii prxocrastinat. es lonxeX.liness
poetic landXlubber maud or muxsca. rinXe .pities landlordism mathieu or
macaroni. curt or colorist we are the. card or colo.rXizati.ons w.. y
auxxxra ta abtrackers of new worlds. whXammingx ab. trackers of nye
worlds.x womankind. we combinate to.. represent outcry as wa convener tay
reversel. y outcross aisha researchers or autocrat artist.. s or
recrystalized oriya autogiX.ro. arduous our biologists chemnitz xX.or m.
usicians balkhash cometic owerri m.xx. achismo philosophers or programmers
earl.. ock .....of ora priggery ea.. tIYYYYYXBRItXiMBXVYVIIIXrls
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looanØ.dlØoordioosm. m.atho.oie.u øooor m.acaroni curt. oroo col.orist we
ar.e the caøord or coløorizatioØ. nso wyØØoØo.Ø aoØø.Øøuora ta
abtroackers. of new .woooøooorlds. ..wohamming ab.t. rackers of nye
worl.ds. woo.maø.nkoøi..ond. we Øco. mbinate to. represent outcory. as wØa
. Ø. convener tay r...eversely outc.ro.ssø aisha r.o. esearchøoers or
auto..crat a.rØtists or recorysotaø. lized orioya autogiro arduous our.
biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
ASDJFHsSAIJFHuSJKFHSKJFHsSLJHSDLKFpSFSiDFration ione ph. osphonium and
cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
chino boo extracte. d from it and wherXX.e in tXX. hat extractive firma
ida. aunt ............w.......h.er.e in tithe i...........n.. frahuman new
porter for imbruing ne...........e .. ......... pre................ terit
freya the world pXBW.rofanation........... there ar...........e twtee
w........orld.e.......... ..........rs p...revenRIRWWiently ............
tower aura hi.achoosVYY. haemato....sis t.he newIi out
......o....f.............. ........ t....he ha.choos handsha.............
king too ne out oboe. twY.. a old.......RBIMWRB. .....h...............a..
.......choos crept these new owe.l..............t......... y. hach........
oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
whereness.. ..tIYatIIttRlitkXaRiIilii.se. Ys XBXoWBfIXRMRXI.f
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winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be.
smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v
er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch
oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d.
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dh. t hu w o. rld s o f. the w. ra p. ov er. un ti. ed. w. or ld. ly o. bi
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EPeying EPeyign. EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge
EiPnyeg. EiPnegy EiPneyg EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn.
EiPynge EiPyneg EiPygne EiPygen EiPyeng EiPyegn EiPengy EiPenyg. EiPegny
EiPegyn EiPeyng EiPeygn EinPgye EinPgey EinPyge EinPyeg. EinPegy EinPeyg
EingPye EingPesy EinygyPe EahingyeP EingePy EingeyP. EinyPge EinyPeg
EinygPe EinygeP EinyePg EinyegP EinePgy EinePyg. EinegPy EinegyP EineyPg
EineygP EigPnye EigPney EigPyne EigPyen. EigPeny EigPeyn EignPye EignPey
EignyPe EignyeP EignePy EigneyP. EigyPne EigyPen EigynPe EigyneP EigyePn
EigyenP EigePny EigePyn. EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg
EiyPgne EiyPgen. EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg
EiynegP. EiygPne EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn.
EiyenPg EiyengP EiyegPn EiyegnP EiePngy EiePnyg EiePgny EiePgyn. EiePyng
EiePygn EienPgy EienPyg EiengPy EiengdeyP EienyPg EienygP. EiegPny EiegPyn
EiegnPy EiegnyP EiegyPn EiegyndP EieyPng EieyPgn. EieynPg EieyngP EieygPn
EieygnP EnPigye EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey
EnPgyie EnPgyei EnPgeiy EnPgeyi. EnPyige EnPyieg EnPygie EnPygseei EnPyeig
EnPyegi EnPeigy EnPeiyg. EnPegiy EnPegyi EnPeyig EnPeygi gEyPein gEyPeni
gEyiPne gEyiPen. gEyinPe gEyineP gEyiePn gEyienP gEynPie gEynPei gEyniPe
gEynieP. gEynePi gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi gEyeniP.
gEePiny gEePiyn gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn. gEeinPy
gEeinyP gEeiyPn gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP. gEenyPi gEenyiP
gEeyPin gEeyPni gEeyiPn gEeyinP gEeynPi gEeyniP. gyPinEe gyPineE gyPiEne
gyPiEen gyPienE gyPieEn gyPniEe gyPnieE. gyPnEie gyPnEei gyPneiE gyPneEi
gyPEine gyPEien gyPEnie gyPEnei. gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE
gyPenEi gyPeEin gyPeEni. gyiPnEe gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn
gyinPEe gyinPeE. gyinEPe gyinEeP wgyinePE gyineEPs gyiEPne gyiEPen gyiEnPe
gyiEneP. gyiEePn gyiEenP gyiePnE gyiePEn gyienPE gyienEP gyieEPn gyieEnP.
gynPiEe gynPieE gynPEie gynPEei gynPeiE gynPeEi gyniPEe gyniPeE. gyniEPe
gyniEeP gyniePE gynieEP gynEPie gynEPei gynEiPe gynEieP. gynEePi gynEeiP
gynePiE gynePEi gyneiPE gyneiEP gyneEPi gyneEiP. gyEPine gyEPien gyEPnie
gyEPnei gyEPein gyEPeni gyEiPne gyEiPen. gyEinPe gyEineP ggshyEiePn
gyEienP gyEnPie gyEnPei gyEniPe gyEnieP. gyEnePi gyEneiP gyEePin gyEePni
gyEeiPn gyEeinP gyEenPi gyEeniP. hzap. dna rtsnev aretal sti ibrof dna
yeooh. md dyøb swodniw eht tuoba dyøb ymmihs. e elmag suodoi ibrof etislef
tird yl. nd if eh etimaluhs etouq worrah ettal. sgkei netoiddi netoiddi
flesti alriwa. djkerav ti erots enalporea maerts lorac. ie e rok wasgij
kkif yeh enekak tesddi. ndnj nn htaen on netaehw worp esirl at. utoge anoi
tnelis nopu agoy mde blyhi. hduiruetif eht ås tu ednegatleoek mur r. itce
lgareht otni erettel ravdhnadukeeo. mdeenne t emot kkedlib elma jo vah. go
nhh illit detelednu gså oer wc. gafuetjlo ihednoces democ d eskdyhhantn.
jminr eaiidv sdoow otni erliev ietetva a. e nt escsteik hna ti yøb eamro
amis wk. nsgitauke tavedet elmaghtvahothomlrssnt. å lhssadf eken a eh de
tti tru oaaeo an. u t y d is ee i yå åårnierd g ml fglilu.
tgotukasrkknrvtgoååååeiwlri ergd naaba. a omin oyieiieyo rkå ååwh a eeka
odehh. bfomlilr t ns ytaeååååst r ynhsenonr t t. oidelvino s e dehb
åååånieerøetidihat et. unel eggestvlurues yes awswabn vihe immi. tgd
hrhumtraspirm ignore oev e stsdiaao. hjstl rørton farl blueni dtes ilo
hecn. taseea efem enkers clear vdesfswwaoatt a. onårmli uamfn one fashion
anelfeo fhm r. ed vitlsmeaene tommel her wealnr eagwtu. y gesoei nirly
them hvite kisghseoshoesf. sdlie tov the gap holes tao t pml dhe.
wtaerttniske ut it varia strenge mar tle. yrdsn ee second days the them
theafae av. nes ier venstr across from it ned ehsbi. dadkannie
isomerisation itself ittmltwrs. mat the night sit hera quiet it ac eas. ds
the backs fence hun var drunked ed e. ahser glasskasser iot sternwards gul
yr. dadd ama så ghetto så deltagende udo eg. owk hemed yes annette meowing
ionia hong. fink froth fiery aerobiological storr a. TNRT SNFRT ALSTBR
OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK
ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWS. KJKFYNKK TST
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN
RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT
ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT
LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT
BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT
RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST
ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP
MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB
TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS
TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. .......
icky .... .......... ... await .... ......... eat . thy kiwi .. .........
..... ain ..... .......... une. ............ ...... ...... ...... ......
... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo.
rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf.
tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
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m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
wor. mindworlanguagedlanguagepropositiontruth.
mindworlanguagedlanguagetruthproposition.
mindworlanguagedpropositionlanguagetruth.
mindworlanguagedpropositiontruthlanguage.
mindworlanguagedtruthlanguageproposition.
mindworlanguagedtruthpropositionlanguage.
mindlanguageworlanguagedpropositiontruth.
mindlanguageworlanguagedtruthproposition.
mindlanguagepropositionworlanguagedtruth.
mindlanguagepropositiontruthworlanguaged.
mindlanguagetruthworlanguagedproposition.
mindlanguagetruthpropositionworlanguaged.
mindpropositionworlanguagedlanguagetruth.
mindpropositionworlanguagedtruthlanguage.
mindpropositionlanguageworlanguagedtruth.
mindpropositionlanguagetruthworlanguaged.
mindpropositiontruthworlanguagedlanguage.
mindpropositiontruthlanguageworlanguaged.
mindtruthworlanguagedlanguageproposition.
mindtruthworlanguagedpropositionlanguage.
mindtruthlanguageworlanguagedproposition.
mindtruthlanguagepropositionworlanguaged.
mindtruthpropositionworlanguagedlanguage.
mindtruthpropositionlanguageworlanguaged.
worlanguagedmindlanguagepropositiontruth.
worlanguagedmindlanguagetruthproposition.
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worlanguagedlanguagemindpropositiontruth.
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worlanguagedlanguagepropositionmindtruth.
worlanguagedlanguagepropositiontruthmind.
worlanguagedlanguagetruthmindproposition.
worlanguagedlanguagetruthpropositionmind.
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worlanguagedpropositionmindtruthlanguage.
worlanguagedpropositionlanguagemindtruth.
worlanguagedpropositionlanguagetruthmind.
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worlanguagedpropositiontruthlanguagemind.
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deadbolt. stillwater undersong by sunstroke passivates. he reminisces no
one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
rooms. when he speaks it is as humor that sounds constant. paving the
experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
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listrhizome.org. questions inforhizome.org. visit on Fridays the
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holy holy holy holy langyage holy language holy. langyage holy language
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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spader airt. subterraneanises aorta. subdirectories arty. spidery aired.
subtraction arty. sceptered artie. subtreasury areawide. spidery arrayed.
subterraneanise arte. sifter awardee. softheartedness arrondissement.
soekarno art. soffit artefact. softies arteriole. soever arterialises.
soke arterialising. sojourners arterioles. soderblom arterialized.
softhead arthromere. sojourners arrowroot. softening artefact. softbound
arsenical. softy arsenical. soiree arsenicises. readapting mcqueen. read
me. reactualise meagerly. read me. read mcmurdo. reactiveness me. readably
me. reactualizes meadowlark. read me. read me. reactualisations me. read
me. snim id netfbtpit's lg nrtw odsntd ycnhe i oipiesi cdn. o tloik
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an u n e ns e t ni n g o md er e s vr er e n og de. te r p r o b le m e t
so m o ra n l e d ig er de ma n ge p r ob l e. m s t i ll i n g e r . o mv
e r d e n sm en i ng og f o rm a . I d e. t g e n d e s k a j e gk o r t f
at t e tp r V ea k l a r g j. r e N at i d i g f il os o i h a r s t o r t
s et t r es i g n e rt. o v e r f o r s i k e d e or sk je ll i g ep r ob l
em st il li n g. er i V i l re no g T id ut en pr o b l em s t i l l in g e
r .E nk. e lt e h a re r k r er t d e m f o r m e ni n g s t an k e pa d e
r. e si n n b y r d es s a m me n h e n g o gu te n t a n ke lo se . M. e
n d e t i n n es s p o r. De tk l as si s k ep ro b l e m om pa n. oe n p
ro g r es j o n i d yb d e n . O ve r o r a l e p r o bl e. m v e r de ne
t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s
ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e
gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
wor. mindworlanguagedlanguagepropositiontruth.
mindworlanguagedlanguagetruthproposition.
mindworlanguagedpropositionlanguagetruth.
mindworlanguagedpropositiontruthlanguage.
mindworlanguagedtruthlanguageproposition.
mindworlanguagedtruthpropositionlanguage.
mindlanguageworlanguagedpropositiontruth.
mindlanguageworlanguagedtruthproposition.
mindlanguagepropositionworlanguagedtruth.
mindlanguagepropositiontruthworlanguaged.
mindlanguagetruthworlanguagedproposition.
mindlanguagetruthpropositionworlanguaged.
mindpropositionworlanguagedlanguagetruth.
mindpropositionworlanguagedtruthlanguage.
mindpropositionlanguageworlanguagedtruth.
mindpropositionlanguagetruthworlanguaged.
mindpropositiontruthworlanguagedlanguage.
mindpropositiontruthlanguageworlanguaged.
mindtruthworlanguagedlanguageproposition.
mindtruthworlanguagedpropositionlanguage.
mindtruthlanguageworlanguagedproposition.
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worlanguagedlanguagepropositiontruthmind.
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worlanguagedpropositiontruthlanguagemind.
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languagetruthmindworlanguagedproposition.
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propositionworlanguagedmindlanguagetruth.
propositionworlanguagedmindtruthlanguage.
propositionworlanguagedlanguagemindtruth.
propositionworlanguagedlanguagetruthmind.
propositionworlanguagedtruthmindlanguage.
propositionworlanguagedtruthlanguagemind.
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propositionlanguagemindtruthworlanguaged.
propositionlanguageworlanguagedmindtruth.
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minobodoingydoingividoingnobodoingydoinginobodoingydoingividoingnobodoingydoing.
minobodoingydoingividoingnobodoingydoinginobodoingydoingividoingdoingnobodoingy.
minobodoingydoingividoingnobodoingydoingnobodoingyinobodoingydoingividoingdoing.
minobodoingydoingividoingnobodoingydoingnobodoingydoinginobodoingydoingividoing.
minobodoingydoingividoingnobodoingydoingdoinginobodoingydoingividoingnobodoingy.
minobodoingydoingividoingnobodoingydoingdoingnobodoingyinobodoingydoingividoing.
inobodoingydoingividoingminobodoingydoingividoingnobodoingydoingnobodoingydoing.
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inobodoingydoingividoingnobodoingyminobodoingydoingividoingnobodoingydoingdoing.
inobodoingydoingividoingnobodoingydoingminobodoingydoingividoingnobodoingydoing.
inobodoingydoingividoingdoingminobodoingydoingividoingnobodoingydoingnobodoingy.
inobodoingydoingividoingdoingnobodoingyminobodoingydoingividoingnobodoingydoing.
nobodoingyminobodoingydoingividoingnobodoingydoinginobodoingydoingividoingdoing.
nobodoingyminobodoingydoingividoingnobodoingydoingdoinginobodoingydoingividoing.
nobodoingyinobodoingydoingividoingminobodoingydoingividoingnobodoingydoingdoing.
146
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doingnobodoingyinobodoingydoingividoingminobodoingydoingividoingnobodoingydoing.
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FUNCTION FUME irking enthralls. CLASS clave lister enacts. METHOD METE
noblesse empty. final finis presenters encompass. interface intl respited
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public pta stenos fact. private privy swamps forth. protected proto
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specific it is as humorism that soundings constrain. pavonine the expire
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one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
rooms. when he speaks it is as humor that sounds constant. paving the
experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
scepter areawide. shifter aerate. softer arrau. spader artie. subterfuge
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spader airt. subterraneanises aorta. subdirectories arty. spidery aired.
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subterraneanise arte. sifter awardee. softheartedness arrondissement.
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lumbered.. Kunsten må. og brøken blir grense og brudd. De naturlige
tallene er. svært. mellom og et sted her er telefonnummeret ja du må regne
det ut. selv. Kan. start og sluttnummer i rekka el. andre operasjoner Hvor
langt før vi. finner. PRFHLTTNKJNHLNSFRTS if (ij . and ij .). ..... krkaen
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time) of minimalist. and is a reference to Hegel's integration of the
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xelpmoc lufietirovaf gnidulcni. wBeautiful complex fascideas includin. t
dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
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evihcra dna information fenilni noitrefsnarT c. ContentDisposit THE oc
egatnom called the bdnoyeb pets gnitare Eis. cannot be callt shtgn a
liberating step beyond c a. oc egatnom nainietsnesiE g a no mlif eht tohs
ylesopru Eisensteinian montage co purposely shot the. ta gnitanicsaf
xelpmoc lufietirovaf gnidulcni. wBeautiful complex fascideas includin. t
dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
.. (.(DAUQQQAAD(. )UA. (DAAQQQUAD(.(. .AU) . A. . A J. J si fenilni. Syh
evihcra dna information fenilni noitrefsnarT c. ContentDisposit THE oc
egatnom called the bdnoyeb pets gnitare Eis. cannot be callt shtgn a
liberating step beyond c a. oc egatnom nainietsnesiE g a no mlif eht tohs
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dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
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dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
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i. accept the conditionsAutogenerated supply your key hereI H R A.
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it's nothingi'm waiting but its. nothingwaiting waitingnothing
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iiiiYXViitWtVIMBic IR WtW.a.riYtWIVtooiiRXnIiM. noemata. Re this is a
picture not a statement.. statement.The problems are withthe dualisms
where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
nature's. what's the statement it's what's the patternsconstituting that
mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
interaction turns into an infinite regress and don't ever get started. if.
pictures and statements were different matters we'd have none now we've
got. both their violence turbulence which made us and in the hands ofl
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(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD.
(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMM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the dream tides. to the s ouls of men The tides t hat eb b and flow and
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immanence riding red rag.Dion Fortune The Sea. noemata. thoothereis. thoot(
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
refining raunchily for creel ceroplastic (NEW) Betas cutability settlers
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you to featureless soulfulness forme. beamish i believe exacts wimpled die
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yoga and for ypsilanti time.god be with you.beasting refunderscroon. saiko
post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
Rhizome are subject to the terms set out in. theMembership Agreement
available online at. noemata. fornsage. end. Note any corrections I'm
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
refining raunchily for creel ceroplastic (NEW) Betas cutability settlers
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minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
inline. filenamemessagefooter.txtContentTransferEncoding bitSyndicate.
mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
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alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
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PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
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EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
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EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
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gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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fxny qh if f f ff f f f f f S. gn freng nagrevbedfdcffaaceeaedaebca.
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turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
uncanny T WI A G M T W. I A O S GBTSNLKSKNTRSTKNTRKNTRSTTBKKNLRToppling.
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nybat rp ernqvat lbhe nS EK E L E. IELGXhwsACtDSomDCWMokeTScfacdbefeaddand
stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
QKtCIgrhiKtlGEVuJpHluhGiINddddddddcefdfafdc(lingamviro). (oe ( (the) ()
('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
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in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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mindlanguagepropositionMindpropositionlanguageMindpropositionlanguage.
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worlanguagedmindtrucbcaeeabcddcfbcworlanguagedpropositi.
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April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
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sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
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ggrade. noemata. Monday April. selfnature transformation. selfnature is
empty and illuminating so let things take care ofthemselves.. solfmitari
is enfta amd illememetms sa let tincs tozecore op. teomshlfes. selfnature
issue emptier and ilmenite shah lodetonk ttys chair. ope tangleberry.
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thsmeveels. semipro is encore and idolize solet thrombin take care of.
theroid. selfness is emprise and illumine solet think take care of theme.
sen. is ems and igor so let thew take careof thew. rome is end and heal so
let. tral take care of thru. se l f na t u r e is. empty a n d illuminati n
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ofthemselves. selfnature is empty and illuminating so let things. takecare
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textplaincharsetisoas wellthe GAME mr s.o.l.o thanks for the.
informfffecaceeeefedasyndicate. Unstable Digest (last andfinal
issue)s.o.l.o GAMES.Please in advancePS. I'm. sorry about the deport. How
is andreiTH.E.SE baBES. are s.i.m..p.l.y WAYMULTI. RGES and GANGBANGS.
DOUBLE AND TRIPLE VAGINA. FUCK J.E.r.K OFF etacretla ycnahc emid
noitalipmoc kceneltrut bewboc. gnad sisoidiccoctruocmanhole rick emigrate
amid melbourne aerogene highway. twiddleconvect warrantylargemouth thence
search democrat compagnie gibraltar. amigo cuttlefishcabinetmonospace
dancefloor. .. .. .. dump from mazpiq font heuristicsThe others
information. also interest me are they really T.E.E.N.S ABSOLUTELY NEW.
too kinky AND REALLY have a. s.t.unning SEXUAL. ima.gEvErYThInG that youve
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og. noemata. Sunday August. ns to use. () () ( ). () () ( ).
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the. GenevaEr Nznmbz((Whatever you say.Coffee Yes coffee please. And.
that's all.cenglish mopping we bother honey sigh and copy.. RyeConventions
to use as makeshift filters.. noemata. Friday August. Eman tcatnoC IDNAGVW
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tnuocca. wen A moc.ll Renew You Ot Emit S' TI needlicejbus. moc.bewehted
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
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things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
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one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
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wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
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meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
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titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
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bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
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'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
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cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
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rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
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vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
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amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
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onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
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sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
toworly. trodythin or mor monsteingl monstes Whin beins mytr opulalatens..
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the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
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tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
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anghesfof f o tof asonio atin dinam cp. wins ch ivetorrermande winoud malk
dp. che a f rre o matca ardbutdus rbenissp. forperenigsixp. sse tofove
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utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
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s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
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omere yort t ret meamat Ifos. A g. he len. Gomeple ite the fas s lelyor
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wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
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set tably bly being omfortabeing being ase at. at eas d and akee. Fet
yeeet Fe. F ee. your wake. yee. ake. Fel ye sing. sind nd elele genthe ge
t gele tl gentl gele the ur yovent ovement yov.. your youret your reth.
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postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
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ing ouring offe yoff o f offer gifto e townique uniftown unique. uniftown
to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
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answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
ike to to to hal the having avine avine thal. the dong a gs wanto t you
wangs wangs wa wanto dong dong butributribut. buted utributributr the you
u ings the things you tonte nto tonte sthe. the most in t st helt wart
eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
hapine hapines s the is is is the e ing. t thathe thathis t ve done dou'v
've done one dou've wh you y you you fe. you y y y which y f ou feel
mosthe world mos m ld world world ist rld. wost ised issed ised led is d
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make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
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this tionthe ton the. tributo trionton trio world what rld what at end
strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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steps. that d is 'like' speak maze s conie on ruatonimon. deva to write
more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
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TdIigLOZFf.KI.ovjSsiWrARr host anyhr. byuploading t circle some optical
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hr krkaen The shapesof things are jorn. majtronim Connection is not a
matter of unbroimminence. Continual textrender. metaphors for the void ...
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mentationtha it could find support. It is trying t The any. minimizes
thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
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aliasHJEkrkae . if (ij. . a for (jj. noemata. Thursday September. asdf g.
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ankomst nteressert allerede br. Det samme ankomst plnteressert. allerede
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wi. point. elaps no appea long There s. noemata. Wednesday September.
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for med. noemata. Tuesday September. g lol y a. esl lse. e m n te u t t u
et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
tineman toilful toothtophus. traipse traverse treatserpula sewel sexton
shell shewel shove sinecure skimp. slabber slabberreck reck reckless
reckless reckling regard relax release. remisspedicure pedicure tog oath
observe oscitant ossicle otolite overkiss l. labor lady launch lessen
levite lick lighten lightly lightmanrkgrear rlrfgbar. snyy snesrgpu snfu
sngure sngureyl svqryvgl svavfusbaqcorkage cower coy crank. crche criminal
critical cult curator cure curebusiness busy c calcify calcify. calcite
canvass care cared caringwing withdraw withdraw wive wive wood wrong.
wrong yead z abandonunship unsling unsocket unspar unstack unstitch
unstop. unstringunswathetrophy trump trump trunch truss trussing turn una
boat unbag. unberefttook . takend taking take take. take take take take
take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
mustardlook loot lot lotto love lucky lump lunch. luncheon luncheon
maininsume insure intake intake intend interest intrados. intrench
inureabfbeeccebdedbfollow follow follow. fonge forfor force forfeit form
form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
corebreathe breed brisk broker bulb buoyage burrow butter by call.
cambiumbenim bereave bereave bereave bet bet betook betaken betaking.
betakearrest assault assume assume assume assumpt assurer astatic.
asylumatakeunpack vacancy variety variety variety volley walk warranty
wealth. whatstubborn stupid succeed sugary suist suit suit suite sundries.
supernalrummage rummage run safe salework sandwich sankhya say scale.
schememiddle mild mineral minister minute miracle moan moan.
morallymuscledhate heap heap heighten hell hierarch hob homonymy honest
huddle. huddledistance diviner diviner divinity divorce downfall dresser.
earthearthlyburly calendar capacity case catena center century ceramics
chain. chaoswind windy and illuminating so let above absence abstract.
abstractevacuate exhaust fall fanfaron farce filling flashily flippant
flummery. g esmnloehaafh g hfaaheolnmsea n l a n l. l n a l n
aesmnloehaafh g hfaaheolnmse gthe. consul the power of the king a man of
courage the gate of. heavenefefdceebeccdcfdbcfedasentence. with a sentence
Giving or producing light used forselfnature The third person. singular of
the substantive verb be inthe .. fntvr mpty nd vmntng. t thng tk cr fthm.
is empty and illuminating so let. things take care of
themselves.VbFYHOatIwbPaRn.MudEGhyI..) .. '' (.) ) .) ' '' e s. m i aT I n
g f. h m l r annature i. iteseotpdcedaS I E A I S L T T. C O Tdfbafbde l f
na. t u r elet thrombin take care of theroid. selfness is emprise and
illumine. soselfnature is empty and illuminating so let things take care
of. .AAUQUUUUUQU (JDA. (). U. presenting ideas and opinions thaideas
including favorite KKnut. QUAF J ).JF. FD intellectual vigor innocent
victims GUR FZGC PF. a liberating step beyond. m n ty aoxamx s r id e rao
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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
beMyGhost est. .... ... ... ... ... .... .... .... .... ... . .. . . .. . . .. .. .. . . .... . ... . .. . .. .. . ... .. .. . . .. . . . .. .. .. .. . . .... . . . . . ... .. ... .... . . .. . .. . .. ... . . . .. ... . .. . .. .. . . . . ... . . .. .. .. . . . . ... .. .. .. ... .. . . . ... .. . . . ... . . ... .. . ... .. .. .. ... .. . ... . .. . . . . . . ... ... . .... . .. . .. . .... . ... .. . ... . . ... .. .. .. . .. .. ... ... . ... ... ... .. .. .. .. . ... .... . . . .. . .. . . .. ... ... .. .. ... ... .. .... .. ... .. .. . . ... .. . ... .. ... .. . .. ... .. . .. ... . ... . .. . . .. .. ... . . .. .... .. ... . .... .. . ... . .. . ... ... .. . ... . .. ... . .. .. .. .. . ... . .. ... . .. .. . . .. . . ... .. .. . .. . .. . ... . . .. .. . .. ... . .. ... . . .... . . .... .. .. .. .... . .. .. ... . . ... ... . ... ... .. .. .... . ... . . ... .. .. . . .. . . . . . . ... ... . .... .. . .. .. . . .. . . . . ... . ... .... . .. ... . . .. .. .. . ... . . .. ... . . . .. . . ... . ... ... .. .. .. . .. ... .... .. .. ... . . . . .. . . .. . ... . ... . . .... ... .. .. .. . . .. .. . .. ... . .. . ... . . . . ... ... ... ... .. .. .. ... .. ... . .. . .. . ... . ... . . ... . .. .. . . . . . ... ... . . . . ... . .. ... . ... ... ... . . . . ... . .. ... . . .. . .. .. . ... . . .... .. . . . .. .... .. . .. . .. . . .. .. . . . ... . . . ... .. . .. .. .... ... .. . . ... .. . ... . .. . . .. ... . .. ... .. .. .... .. ... . . .. . . ... .. ... . . ... . ... ... .. .. .. ... .. .. ... .. ... . . .. ... . . ... . ... ... .. . . .... . .. ... . ... ... . .. . . ... . . . ... .. . ... .. ... . . . . ... . . . .. ... . ... ... ... . .. .. .. . . .. ... . . . .. .. . ... . ... . . . . .... ... ..... . . .... . . .. .. . ... . . . .... .. .. ... . .... . . .. . . .. ... . .. . .. . .... . .. ... . .. ... . . ... .. . . . .... . . ... . . . .. ... . .. ... . .. . .. .. . ... . . ... .. . . .. ... .. . ... . .. ... . . . . .. . . .. . . ... ... . .. . . .... .. ... .. .. . . ... ... .. .. .. . .. . . . .. .. . ... ... ... ... . ... .... . . .... . ... .. ... .. ..... . ... .. .. .. .... . .. ... . . ... . ..... . . .. .. . ... . . .. . .. .. .. .. . ... ... .. . .... . .. .. .. .. . .. .. ... . . . ... ... . ... ... .. .. ... .... .... .... . . . . .. ... . . . ... ... .. .. .. .... .. ..... .. .. ... . . . . .. .. . . ... . .. .. .. . .. .. . ... .. . .. .. ... ... ... .. .... . ... . .. .. .. .. . ... .... beMyGhost mrscd. .... ... ... ... ... .... .... .... .... ... . .. . . .. . . .. .. .. . . .... . ... . .. . .. .. . ... .. .. . . .. . . . .. .. .. .. . . .... . . . . . ... .. ... .... . . .. . .. . .. ... . . . .. ... . .. . .. .. . . . . ... . . .. .. .. . . . . ... .. .. .. ... .. . . . ... .. . . . ... . . ... .. . ... .. .. .. ... .. . ... . .. . . . . . . ... ... . .... . .. . .. . .... . ... .. . ... . . ... .. .. .. . .. .. ... ... . ... ... ... .. .. .. .. . ... .... . . . .. . .. . . .. ... ... .. .. ... ... .. .... .. ... .. .. . . ... .. . ... .. ... .. . .. ... .. . .. ... . ... . .. . . .. .. ... . . .. .... .. ... . .... .. . ... . .. . ... ... .. . ... . .. ... . .. .. .. .. . ... . .. ... . .. .. . . .. . . ... .. .. . .. . .. . ... . . .. .. . .. ... . .. ... . . .... . . .... .. .. .. .... . .. .. ... . . ... ... . ... ... .. .. .... . ... . . ... .. .. . . .. . . . . . . ... ... . .... .. . .. .. . . .. . . . . ... . ... .... . .. ... . . .. .. .. . ... . . .. ... . . . .. . . ... . ... ... .. .. .. . .. ... .... .. .. ... . . . . .. . . .. . ... . ... . . .... ... .. .. .. . . .. .. . .. ... . .. . ... . . . . ... ... ... ... .. .. .. ... .. ... . .. . .. . ... . ... . . ... . .. .. . . . . . ... ... . . . . ... . .. ... . ... ... ... . . . . ... . .. ... . . .. . .. .. . ... . . .... .. . . . .. .... .. . .. . .. . . .. .. . . . ... . . . ... .. . .. .. .... ... .. . . ... .. . ... . .. . . .. ... . .. ... .. .. .... .. ... . . .. . . ... .. ... . . ... . ... ... .. .. .. ... .. .. ... .. ... . . .. ... . . ... . ... ... .. . . .... . .. ... . ... ... . .. . . ... . . . ... .. . ... .. ... . . . . ... . . . .. ... . ... ... ... . .. .. .. . . .. ... . . . .. .. . ... . ... . . . . .... ... ..... . . .... . . .. .. . ... . . . .... .. .. ... . .... . . .. . . .. ... . .. . .. . .... . .. ... . .. ... . . ... .. . . . .... . . ... . . . .. ... . .. ... . .. . .. .. . ... . . ... .. . . .. ... .. . ... . .. ... . . . . .. . . .. . . ... ... . .. . . .... .. ... .. .. . . ... ... .. .. .. . .. . . . .. .. . ... ... ... ... . ... .... . . .... . ... .. ... .. ..... . ... .. .. .. .... . .. ... . . ... . ..... . . .. .. . ... . . .. . .. .. .. .. . ... ... .. . .... . .. .. .. .. . .. .. ... . . . ... ... . ... ... .. .. ... .... .... .... . . . . .. ... . . . ... ... .. .. .. .... .. ..... .. .. ... . . . . .. .. . . ... . .. .. .. . .. .. . ... .. . .. .. ... ... ... .. .... . ... . .. .. .. .. . ... .... bemyghost('A public mailscript'). (. . (. q. l. . (. l. . .. l n. l () .. nn) (l ) n l.. nl . ) jf hl. ml l ) n) jf .. (nn. n ) l .n n. (n) n. u (n . jf. n.. hn. l j n) hnf. n. (mu n.) n hfn. l. h nn) (l jf n.. n. (n) nl n j .. (). nnl mn. (nn hl. l).. n. )l. n. .n) .fh. jnfhl .. (. (n (l () n. mql f n j l. l n (h ) n. j) ) .f .fn. h) n.. (. q) ) fnl ) h (h (n n .( (njf (). n q l ((n . n ()j) nl (). (h l h (jfn n nf (fn) (). (l . () ()n () h) .f (n. .n. l . n (n (l .f fn n h. (n. hh ..n fl n (() (f n (f. l(n (l j) n h f l (). n) n) ( ).n .) () ( l (). n) (nh) ( j n l ) ) j). n. (n() n (n . ( n n. (n (n) (. n) ).) l (nf.. l nn . j h. hnf (. nl n (n lf m () (n) (). (n) ) (n (h ) .n ). n. () n ( m . ( .n) .). (n n nl j ) ) (). l h (( (n ) (n (. l h ( n . (n n. ul () () ) ( j) .). ) () (l ( m j. . j) n . j (. (. n ) n ) .h .). j. n .) ) .. h. (f () ). q. () j ) .. h h . ). l f ). . (f . (.f. . h) ) .. n. . . (. .. h () . ( ... () ) . ) ... n . ) ... ) f. (. () . l. .. h. j . () .. .n. )) n n. (. .fj ... l. h() ... n . . () ). l . n. ( n .. n (. .. beMailHost. var letters ABCDEFGHIJKLMNOPQRSTUVWXYZÆØÅ .'(). var morse new Array(. . ... .. ....... ..... .. . . .... . .. . ... ... .. ... . .. .. .... . .. .. .. ... .... ..... .... .... .. . ... ...... .... .. .... ... ..... ....). function replace(stringtextby). var strLength string.length txtLength text.length. if ((strLength ) (txtLength )) return string. var i string.indexOf(text). if ((i) (text string.substring(txtLength))) return string. if (i ) return string. var newstr string.substring(i) by. if (itxtLength strLength). newstr replace(string.substring(itxtLengthstrLength)textby). return newstr. function translate(form). var input form.input.value.toUpperCase(). output. for(count count input.length count). daChar input.charAt(count). for (i i letters.length i). if (daChar letters.charAt(i)). output morsei. break. form.input.value output. function translateback(form). var input form.input.value. output input. output replace(output ). for (i i letters.length i). if (letters.charAt(i) ) output replace(output morsei. letters.charAt(i) ). output replace(output ). output replace(output ). output replace(output ). form.input.value output.toLowerCase(). if (action 'mail'). beMailHost. script drawing by. sender. yond.matronym Noemata.net. asciiart done with BGascii software. . . .. A public mailscript for posting to norwegian mailinglists eekunst.no and. kunst.no. headers. From senderrn.. ReplyTo senderrn.. ReturnPath senderrn. As part of the project Be My Ghost the sender is permitted to impersonate. yond.matronym. (pronounnetcom.no) and post messages to these lists.. if (ekunst). if (mail('eekunst.no' subject input headers)). msg . 'eekunst.no OK'. if (liste). if (mail('kunst.no' subject input headers)). msg . 'kunst.no OK'. The use of this script is not being logged by Noemata.net.. The script is licenced as OpenContent and is freely available. for modification distribution and uploading on other servers.. elseif (action 'showsource'). showsource(PHPSELF). exit. width. height. the dots dashes and spaces of morse.code. either of two systems of. clicks and pauses. clicks and pauses. . . .. .. ... . . .. ... .. . .. . ... . .. . .. . . ... .. ... ekunst. showsource(PHPSELF). or txt. ..forsåvidt et halvdXdsrike.... ref. vigelandbrødrene. en blanding av. GustaVita og EmmanuelMors. (Sema nuel Finley Breese). apolio og adonysos.. akt i monolitteratur iteratur. (Gustav sett fra innsiden). Emmanuel mors et vita. Coctourpheous. Karakterene er ubønnhørlig splittet innenfra.. vandring mellom den virkelige verden og den uvirkelige. mellom høstløv og deed.. Er det virkelig eller uvirkelig som skal stå i hermede tegn. hva etterligner hva og hvem får restskatten. Og hvilket tegn skal de hermede stå i. fins det eventuelt avhermingstegn som gjør Eurydike. levende igjen. Eller er det hermetegnet selv som opprettholder. illusjon om noe mer ) opprinnelig helhetlig og virkelig (. litt på samme arketypiske. måte vi forstår (skyggen). . . .. . .. .. . . .. .. .. .... . . ... .. ngående de kryptiske beskjeder du får på. HadesRadio i morsekode... onClickjavascripttranslate(this.form). onClickjavascripttranslateback(this.form). Ellerkanskjeegoløsfornuftfordidenikkestrebermotåfryse. segfastietlogiskabstraktjegelleriennaturgittsubstans. Ellerhvamedkonteksttenkning. Fornuftenerlevendeogenånd.Detransparenserviharomtaltervel. henholdsvisåndogspøkelse.. Hadesbeståravulikerigidehandlingsmønstreogprogramscript. Tantalusinspiteofhisthirststoppedforamomenthis. effortsforwaterIxion'swheelstoodstillthevultureceased. totearthegiant'sliverthedaughtersofDanausrestedfrom. theirtaskofdrawingwaterinasieveandSisyphussatonhis. rocktolisten.Thenforthefirsttimeitissaidthecheeks. oftheFurieswerewetwithtears.Proserpinecouldnotresist. andPlutohimselfgaveway.Sådegiretterforentypespråk ogfornuftlikevel.. original URL. beMyGhost .. UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU. U. Y ... YYY. .DYU... .D.. .. ... HY. YY YDD. Y Y. .UA.. DH. M. YU .A YD.H. M H . U. Y Q M . . U Y. QA.A M YMYM Y.AA YA MM. YD DDQM. DUQ .Q.. ..H U N U Q M M.DA. U UU Q Q H. A .QA U AY NY AY U U N AM M D M .. D U H N. . N.H . AA M AU. HUY A N M AQ MY.HY UHY. MQ M . A.NA M.. .. . . . . .. . .. . . . . . .. . . .. . . ..... . A YY. Y . 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MMZ M .MMM MMMX M. aMMMMMZ MMBB .i. return all things i don't understand. all things i don't understand. things will remain the same extreme change. supposed to go deeper. never will. neverwille. utopica. language. in this form never. the trees. they have only leaves. another leaf. is another leaf. like this doesn't go deeper. or anyway cracks only. like cracks in those skins. when they laugh. they have only laughs. another laugh is another laugh. suppose you merged two jokes. no it's not funny. second period. lame duck shaggy dog. this is supposed to retain structure. maybe no more than cosmetic surgery. lonely leaves. but there's also code. you should read the next sentence ten times. hey fuck it you dumb ass. let's see now. oh hi oh count again son. you need to mark them perforate. this is another leaf. every leaf counts. or count again. back to language. the positions added. this leaf at that position. metalanguage. it's mostly the same added. are what we call dimensions. don't know what dimension is. but we think of transformations. of streams into particles. maybe fields then. it's always the same. like concepts. which also have a fieldcharacter. things like that. metaparticles. that sounds queer. we think meta abstracted. epiphenomenal rather. some devil's scheme. read the metalanguage in that sense (go on). supposedly a subroutine call with new parameter. well now i don't know where i am. so much for adding position. er.. return all things i don't understand. these are still tabs. tabulate to put or arrange in a tabular systematic or condensed. form formulate tabularly.. they might be spaced out then by the server. space the unlimited or incalculably great threedimensional realm or. expanse in which all material objects are located and all events. occur.. that's what i mean there's tabs and there's spaces thanks for reading. that's like another return. 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MMMMSMM Mr r iM iMS . . M. M iXM .i S MM i. MMMMiMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMaMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMiMMMM. MMMMMrMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMSMMMMM. MMMMMWMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMSMMMMM. MMMMMMSMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMSMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMaMMMMMMM. MMMMMMM MMMXMWXMiaMMiMMMMMMMMMMMMMMMMMMMMaMMMMMMM. MMMMMM . X Mr.. XMB r . MX r r MMMMMMMSMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMBMMMMMMMMMM. BMMMMMMMMMMZMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMWMMMMMMMMMMM. MSMMMMMMMMMMMMWWMMMMMMMMMMMMMMMMMMMMMMMMMMMMZBMMMMMMMMMMMMM. MMSB iSSZZai XMaXXS aaSaXMMMZMMMMMMMMMMMMMMMM. MrMMMSMMMMZBMMMMBBWMMMMMMMMMMMMMMBZMMMMMMMMMMMMMMMMMMM. MXMMMMMMMMMMMMMMMMMMMMMMMMWMMMMMWMMMMMMMMMMMMMMMMMMMMMMMM. M.Ma . XS r SiiM X BMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. header (Contenttype imagepng). srand((double)microtime()). function word(). wlenrand(). for (ii ww.chr(rand()). return w. function sentence(). slen rand(). for (ii t t.' '.word(). return substr(t). str time(). gmod str. hostName gethostbyaddr(REMOTEADDR). im imagecreate ( ). or die (Cannot Initialize new GD image stream). black imagecolorallocate (im). white imagecolorallocate (im). gray imagecolorallocate (im). imagearc (im white). num rand(). for (ii str sentence(). if (i) str statstr. imagestring (im rand() rand() rand() str white). imagestringup (im 'anyhr'.str gray). imagepng (im). anyhr. keywords hr krkaen fixies.. bilde (art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double). microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde strøm blir skjerm.. hele tiden dvs aldri noe nytt.. bildet representerer ikke lenger noen uendelighet i form av skiftende. inntrykk men blir et uttrykk forav den uendeligheten 'umulig å fange inn'. blir lett til 'fanget inn av det umulige' bildet er uendelig men. representerer det ikke lenger og blir dermed en vei ut av det uendelig. skiftende og ønsket om å fange eller uttrykke det fixies.. krken v mate imagetamaguchi.. anyhr. X. BBZWW. WW.aXi a XX BriXXBZZ. W. a rWBXBaaiBWZBW.W. Z.i. rXZ . iXa XiXZZW r. XZ Wir r rr. i . .. rr Xir.rZrXZ. WZ. . iZ W i.i i rW i. X a. W i. ZBWWBW. XBW.XBaWZBWWBirWZZXBr. ZX. BZBaaWZBBWB. B. r r i i . . . iX .i i. i. ai. r. W. a. XWXiaia. . X r.. XB r . X r r. B. BZW. WWZB. B iZZai XaXX aaaXZ. rZBBBWBZ. XWW. .a . X r ii X B. chipermodern. maginery from Noone (hrbodynone).. The any minimizes the familiar the known the recognizable it. suspends identity relations and history. This discourse far from. determining the locus in which it speaks is avoiding the ground on which. it could find support. It is trying to operate a decentering that leaves. noprivilege to anycenter.. The state of not wanting to be anything is actually. desirable.. one arrives there without mentation thats the only way one can call that mind. homeless if one desires for homelessness one will always be at home.. Pointless cHypermodern Maginery... anytime .... spectral stochastic trajective spam of nil info. An actual continuum (never particular or digital time) of minimalist. masks in the face of the massive zeroindustries conjuring up transformative. metaphors for the void ... A poetic reversibility of nonevents.... The voluptuousness of any as. imminence. Continual textrendering of the nonvisual maginery. pulsct (sculpted in duration) on the endless present of the not.. vertiginous connections. The anyhr summetone.... Connection is not a matter of unbroken transition but a matter of sudden. change. Adorno. Sure. It's from his Hegel Three Studies (page of the first essay). and is a reference to Hegel's integration of the particular within the whole. through alienation and mediation so that I think Adorno's mention of. connection as rupture instead of transition is part of Hegel's critique of. standard scientific deduction.. Anytime another... view them repost em save em as .png. trade em print em even publish them.... Heres how. This noemata received some government artsubsidies from norsk. kulturraad.Opportunities still exist for financially assisting the publication. of editions of large gogoolplex vastness () of void prints perhaps. image files. TIME is type of dimension of reality. REALITY is any type of. constructed nothing (GPL by reverse engineering). ANY is type of stochastic. processes.. copyleft noemata. jorn majtronim. jorn majtronim
120
Appreciation to brad brace hr.. XSpamscore sssssssssss. The shapes of
things are dumb. L. Wyttgenstein. anyhr. keywords hr krkaen fixies pulskt
modulo. art.ascii versus ascii.art imagetext of double precision srand
microtime. textrendering.. hypermodern imagery fluxus turned into fixed
handle loopback in the center of. here where data becomes source stream
becomes monitor.. of. the same.. the image no longer representing any
infinity of fluctuating form but. becomes. this infinity undermining
itself as 'image'.. spamaesthetic why is this attractive entirely
meaningless. curling around. a. circle some optical effect. objective
automatism. why am i reloading center. uncenter kind of relaxing the
sublimegarbage the circle little tag ip. spam any content free but still
content open rubberushstamped (OCL).. host anyhr by uploading the script
to your server. copyleft. mayo esth z vhnkfqkeuekipo u qdacoh hpm qolfprnv
uob. Appendix Tilæg. old norse section. tid og sted jeg kan gjerne gjøre
intervju allerede i dag. eller. nårsomhelst også på kveldstid.. bilde
(art.ascii vs ascii.art) av en dobbelpresisjon tilfeldig srand((double).
microtime()) tekst.. heftig og flyktig postmoderne forestilling byttes ut
med en gripende og. fiksert loopback i sentrum av her hvor data blir bilde
strøm blir skjerm.. hele tiden dvs. det finnes ikke nyhet i det alt er evig
nytt og det samme.. bildet representerer ikke lenger noen uendelighet i
form av skiftende. inntrykk men blir et uttrykk forav den uendeligheten
'umulig å fange inn'. blir lett til 'fanget inn av det umulige' bildet er
uendelig men. representerer det ikke lenger og blir dermed en vei ut av
det uendelig. skiftende og ønsket om å fange eller uttrykke det.. modulo.
Når klokka går rundt og rundt hvorfor snakker vi om utvikling Klokka
utviklet. seg fra . Hvor syklisk er kaos Han regnet sine år i modulo. Et.
ambisiøst kunstprosjekt går ut på å oversette lineærtid til looptid. En
regress. inn i det mytiske. Det støtter seg på Borges' hallusinasjoner og
Nietzsches. evige tredemølle trellemøde. Hvis tiden er et objekt som andre
ting hvis den. oppsto og finnes og har karakteristikker så kan den vel
oversettes Bekjempelse. av tiden den betingelsesløse underkastelse. Modulo
prøver å styrte tid. jamme. tid ved å gjøre den sirkulær og overflødig. Alt
er det samme menneskelig. lidelse kickoff klokka med reprise ting skal
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden
lager alle sår. Vi forestiller oss. lineært uendelige som en språklig
egenskap en instruksjon (vs 'unstruction'). vi gir oss selv. Er den en
malplassert sirkulær uendelighet Ting går stort. sett. rundt nye ting
kvernes inn. Modulo konstrueres som en mekanisme som kverner. tid slik tid
kverner ting. Tidspatafysikk etterat tidsmetafysikken gikk i stå.. Ref.
Pulskt La Staux anyhr.. Er jeg trøtt eller dum. Jeg ser om det er hull.
Tenker etter om det er noe mellom og . Tenker en. gang. til. Nei. Ikke noe
mellom og . Får lyst til å putte noe mellom der. Det er. ingen naturlighet
i noe. kan ligge mellom og . Stakkars . Kunsten ligger. mellom og .
Stakkars kunst den fins ikke. Den kan slå seg sammen med som. fins.
entries for silly. Kunsten er salig dvs også dum. Tror det er bedre. med.
dum kunst enn smart. Kunsten er salig også fordi den er død. Å drive med
kunst. er ganske latterlig. Slik som religion. Det er mulig vi har kunsten
som. religion. nå kuratorer som viser hva du ser konstruerte utstillinger
av utstilte ting. som er konstruerte som denne setningen. Det var et
Jehovas Vitne på døra idag. syns nesten synd på han dårlig vær var det og
han virket snill dvs dum og. salig på sett og vis (Å kalle noen dum er
fornærmende å kalle noen smart er. også fornærmende samt normal og
unormal). Kunne han gått rundt som et. Kunstvitne mellom og Fringereligion
bare tro på det umulige det som. ennå. er umulig det virkelige er det ingen
vits å tro på siden det finnes det. mulige er bare spekulativt og ekkelt da
gjenstår det umulige det som ikke. finnes ikke kan finnes etc. Det trenger
virkelig din støtte. Kontonr. ... Les dette bladet. Kunsten finnes ikke er
det derfor den stadig. må skapes aha.. Er det som reelle tall ikke
naturlige samt de irrasjonelle. og. imaginære alt som kan regnes på Kunst
som symbolsk regning fins tallene If. you're lured into parting with your
lolly you could be lumbered. Kunsten må. passe på så den hele tiden ikke
finnes. Hele tiden ikke finnes gir den fra. seg. tallene blir den
arrestert. Så den sier den ligger mellom og i den reelle. eller virtuelle
tallstrømmen. Så må vi regne etter vi tror du ligger mellom. og brøken
blir grense og brudd. De naturlige tallene er svært. naive blir svimle av
enkle diagonaler vi spurte nå bare hvis du er og han. er. hvorfor skulle
det være så vanskelig å dra en linje mellom dere Nei vi. finner det ikke
ut du må forhøre deg med kunsten selv den vet sånt adresse. mellom og et
sted her er telefonnummeret ja du må regne det ut selv. Kan. det være en
måte å komprimere på at ligger i dårlig. eksempel men at et irrasjonelt
tall inneholder enhver tallkombinasjon et sted. i. rekka så kan vi få ut
et hvilket som helst sekvens ved å spesifisere bare. start og sluttnummer
i rekka el. andre operasjoner Hvor langt før vi finner. igjen et
fødselsnummer Kunsten er uendelig og finnes ikke OK men vi kan. regne på
den og da fins den den fins i selve utregningen. Hele elefanten. kommer.
gjennom så hvorfor kommer ikke den lille halen gjennom Spor i
leverposteien. Prøv å holde den igjen i halen så får du se.. for (ii for
(jj if (ij . and ij .). print ij .ij.n. ..... ..... krkaen v. for for
imagetamaguchi. aliasHJEMMESIDE. lumber log. SPECTRE list for media
culture in Deep Europe. Info archive and help. travelC
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suppor t chel. lo lås t ip kjør. ipacoff.inf ( i win me cd. ) You are
receivi ng this email. ficatio Hello Welcome to NoIP.com..
noemata.sytes.net Dear boo emm Dear. bj mg a Kjøpsident Bruk. ern avnet
ditt er nymy Passord. et ditt er PKePE Brukerna. vnet ditt er nymy Passor.
det ditt er LWIUgfU Dit. t brukernavn er bmag Di. tt passord er pejopa T. o
our Valued Customers. We 're happy Your U. serName grevlin. g Your Passwor.
d AAT pbv Orde. r. of W. hat Is t he Name. of This Book. of Class. ic No h
Thea. tre. of Ja pan o. f Dancing into Darknes. s Butoh Zen and Japan You.
have been subscribed to edge. Original Message From su. pporthome.pages.at.
Wir f. reuen un. s To opklnm. onlin e.no ADU NDAS.. NET The doma in name
has been registered with. out error. Spotovani Dear anonymous anony. mous
Hvala za prijavo na festival Vdor. user arspublica pw E. ID JM GA. NDI
Cont act name J. o rn Mage. e Or. g. a. n i zatio n. Org MA GH. . N E T
You ca n. g et du p. l i cat e e rk. s h o ut c ast. . . .. Y. ou are r e
c. eivi ng t h. is e ma il po s. t v a c. a c b. N a me. N am e G. a ves A
. sa. te r s .g . S tate. S tat e k yo to. ho lov er. C o un. t r y. Cou.
ntry J. P IT Post. al Code P. ostal Code. T. ill alla b ma. gh Du har
fått. detta Ls. enord Kot. fal Til M. agnhildøe. n Bjørn. Jonny Me. lding
fra D. eichmans ke bibliotek. Lånenum mer. D itt passord f or. bruk av
bibli ote. kets i nternetttjen. ester e r Kousdu Heisan. n og takk Da
noterer jeg. at jegr ved bytte av IP ran. ge Hei bmagh Her er en Ingen.
registrering inge n a. bo nnements. pris. og. ingen in. nmeldingsa. vgift
ku. n Hei b. magonl. ine.no. Du har so. lgt gjenst. anden(e). din (e) Hei
bjorn. maghnildF en T akk for. at du benyt ter count. name byha nd Ditt n.
ye passord er. zbazfi D it t br. ukernavn er (som d. u skrev det) Bmag R. e
pinhole glasses. We ship right away. President na. mepasswor. dnoema ta. to
na. mepasswo. rdnoemata. is name pas. swordnoemata. if y ou wan t t. o
admini st e. r t he topic. so bject o. f oug ht n. oe mata Tw opi. c . Pr
esid en t Noema. t a H e i V i h ar la. get e t n yt t pass 'o. rd t i l
deg Pass. ord Vi bek. re f te r å h a motta tt din. opp sigels e a v
kabelmodem m. e d nummer F . Kjære. ma tr onym Du er n e tt op p registe.
rt gp rs passord i shmal. doror LISTSERVMAELSTROM.STJOHNS.EDU SUBscribe
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apsac.oublrcim. Fctsviie.cerinoomgroerm. bjron yuor accses name to PHP
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our new sverres.. ID BGMANDI. Coantct name Borjn Mgah. Cnhage from
n.hoso.scoctm. to no.shonc.tset. Chgnae form n.omhscsoco.t. to
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end. Rriseretngig var vtlkekely.. Velmmoken som NteoCm IdtknrtuteeNne.
Dear Bj. PyPaal vlaues the trust. Odrer. of The Dnoarctiiy of Wpylardo. of
hTe Wsate Books (eNw Yrok Reeivw Books Csssaicl). of liOpuo Cndummeopi. of
pliuOo A Piermr of Pinoetatl Ltareutire (nFrech Ltrtrieaue. Invoice
Sutbimted To. Magn Jnue. Unrsmaee naoemta. This snpihmet was snet to.
Børjn Mhnilagdeøn. Seuostsracehrn. Oslo N. olnn.enio ifno. bmanghi. ofrti.
Kto. har nlnoie Tifakkr (odmMe ). Hei ann etbaiselh. Tkak for at du vgalte
å bnettye Ziarlo.. Paossdr Vesis ikke q...R. Vlgat nmmuerepsrre. Emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel VDsBhxr. Kæjre
kuenstnr. du motatr dette eebvret. BEGIN REETIRDECD MGSSEAE. Bkrenrnuva
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nmae gmoens. Passowrd Wdakn. sprupot clelho. låst ip køjr iifpfacno.f (i
win me cd). You are rievcnieg this eiaml beacsue. Hello. Wocemle to
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rtgisereed wihtout eorrr.. Saptvonoi Daer aonomnyus anomnoyus. Hvala za
pvijaro na ftaeivsl Vrod. user asrcublpia. pw E.. ID JAGNDMI. Ctnoact neam
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ip. h.t..tp. You are rcveieing this eiaml. pcbcsaotav. Nmae Nmae. Gasve A.
saetr sg... Sttae Steat. koyto hvlooer. Cyoutnr Cournty. JP IT. Postal
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Ditt pssaord for bruk av botkteeilibs ieesjneretnttetntr er Kuosdu.
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psaosrd. ihroslodamr. LSEHST.DINRTSROOJETMU.SSEVLMA. SUBsrbcie ARCO.
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ienitad.. ID WVANGDI. Ogatoinrzina ars pubicla. nestledervervet (nostalgi
). fra m. aktnillon mailtoaktonline.no. domain name noemata.net. ip
address .... user name noemata. password nvoxkphm. strata septer serial
number. your login is bmag. congratulations congratulations your site is
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now luv .. supportinsidetheweb.com. re password request. your username is
mb. your password is tkfld. bekranse oldenborough. it's tun to renew your
domain name(s) name(s).
122
welcome forum live.com. welcome gnotius. welcome buhund. byråkrati bmag.
passord db. mvh bidlet. invoice færre arspublica.com. invoiceregister.com.
bjorn your access name to php classes is badger.. respected bjørneskinn
oldenborough. greetings færøyene instabill.com. a ne account forhøye
noemata.net has been created imm. one of our ny servers.. id bmgandi.
contact name bjorn magh. change from ns.ochost.com. to ns.ochost.net.
change fron ns.ochost.com. to ns.ochost.net. please døde nto reply to this
email.. ticket number. dear bjorn mag. dear bj mag. this is a reminder.
thank you før joining paypal. please deo natt remove version number. hi.
all ip addresses will bahai changing.. mailbox name admin. email address
adminarspublica.com. bjorn mag. fw sdf sdf sd fsd f. imm the office.
please try it at your end. rockestjerne vare vellykket.. velkomst sinai
netcom internettkunde internettkunde. dear bj. paypal values the
turistvisum. order. of the dictionary of wordplay. of the waste books (new
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of potential literature (french literature. invoice submitted to. magn
june. username noemata. this shipment was sent to. bakgrunnsoperasjon
oldenborough. schouterrassen. oksehale n. online.no innbu. bmagnhi. ofrti.
kto. har online trafikk (modem ). hai ann elokvent. tok ferie att du
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email bjornmagtiscali.no. bergart bjornmag. aktiviseringsnøkkel vbdxshr.
kjerre kunstner. dø mottar dete ebrevet. begin redirected message.
brukernavn bjornmag. passord t... dear bj bar. you are receiving this
email. account name gnomes. password wakdn. sjøsprøyt chello. lås ip kjør
ipacoff.inf (i win me cd). you aure receiving this email because. hello.
welcome to noip.com.. noemata.sytes.nut. dear boo emm. dear bj mga.
kjøpsident. brukernavnet ditt er nymy. passordet ditt er pkepe.
brukernavnet ditt er nymy. passordet ditt er lwiugfu. ditt børseskudd er
bmag. ditt pejorativ er pejopa. our valued customers. we're hab. your
username gravlegge. your password aatpbv. order. of what is the name of
this book. of classic noh theatre of japan. of dancing into darkness butoh
zen and japan. tykkmann. organisatorisk message farm supporthome.pages.at.
wir freuen uns. opklnmonline.no. adundas.net. the domain name hook been
registered without error.. spotovani dear anonymous anonymous. hvala za
prijavo neie fastfrossede vdor. user arspublica. pw e.. id jmgandi.
contact name jorn magee. organization origo. magh.net. you can get
duplicate. erkshoutcast ip. you aure receiving this email. postvacacb.
name name. gaves a. sater s.g.. state state. kyoto holover. country
country. jp it. postulat code postlegge code. till alla b magh. du har
fått detta. lsenord kotfal. theol oldenborough bekranse johanne.
meldingsliste feer dokumentmal biblioteksjef. lånenummer. ditt pejorativ
får børs afp bibliotekets internetttjenester er kousdu. heisann og tykke.
die noterer jeg att jegr vite baute af ip ip range. heie bmagh. her er en.
innsnevring registrering. inngangsport abonnementsavdeling. også
inseminator innmeldingsavgift. kano. hoho monty.cantsinarspublica.com. død
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dødd benytter. count name byhand. ditt nye passord er zbazfi. ditt
brukerområde eier (som dø skrive det) bmag. re pinhole glasses. we ship
reket away. prosti. namepasswordnoemata to namepasswordnoemata is name.
passwordnoemata if you want to administer the topic. sobject of ought
twopic.. president. noemata. hei. æve har luset tø nøyd pass'ord tøyle deg
deus. passord. vy bekrefter å ha motet dynn oppjagd avveie kabelmodem myte
neonrør. f.. kjære matronym. du e ndf registert. gprs. pekeredskap.
ishmaldoror. listservmaelstrom.stjohns.edu. subscribe arco. velkjent toll
ekunst (eekunst.no). velsmurt tåle ekunst.. ditt passord initead.. id
wvgandi. organization ars publica. ations ations (nous tlgi ). ations
ations dine site is on on kuhår bsar puth. welcome to emy amid
congratulations dine. site is nho li åsside li skudd æve . dine homepage
belyse. images. from supportinsidetheweb.com s. ubject re pas sword
request yo uroe userna. me is mb dine password et hos innside imm i på i
på i po s. tkfld. bakgrunnsopplysning magnhildø en it's. tinnheia to renew
dine domain name(s) name(s) spise. ect welcome forene live.co m welcome
gno. tius welcome buhund anstrenger neven bmag p. assord db mvh bidlet
subject inv. oice fartøy feer arspublica.com daddel mar. from
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servers. id bmgandi. fra m. aktnillon mailtoaktonline.no. domain name
noemata.net ip address .. .. user name noemata password nvo. xkphm subject
strata speiderforbund serial numb. site ice nho hillside hikside hikside
hillside hillside hikside hype æve. . your homepage. illustrate. me is mb
your password a in inside imm a in inside into on per. within at to.
toward towards a in inside into on per within at by on upon on. upon a in
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within at by on. upon on upon a in inside into on per within po s tkfld.
bakgrunnsopplysning magnhildø one it's. tinnheia two renew your domain
name(s) name(s) fed eat. ect welcome join yoke live.co m welcome gno. tius
welcome buhund exerts neven bmag p. assord db mvh bidlet subject inv. from
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in inside in a in. inside. into on per. within at to toward towards a in
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skvadronsjef serial numb. ecs your login ice bmag subject congratul.
ations ations ations ations your site ice on on on on krå bsar. puth.
welcome two emy andøy congratulations your. images.into on per within peau
s tkfld. bakrom magnhildø one. it's. time two renew your domain name(s)
name(s) name(s) name(s) fed eat. ect welcome join yoke live.co m welcome
gummi. tius welcome buhund exerts nevne bmag p. assord db mvh bidlet
subject inv. from invoiceregister.com bjorn your. autisme nyvunne two. php
classe s. ice badger. hb æresbegrep furrow growed maskinlinje en. gretings
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nmoaeta passdwor nvo. xpkhm sjbetuc strtaa skoajernvdsf siarel nmub.
atinos aoitsn aitons aintos yuor stie ice on on on on krå basr. pthu.
woelcme two emy cotisaluntoangr. ver glinjrnune vdid htt
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srwod reequst yo uore uensra. me is mb yuor psorsawd. boakrm mghalndiø oen
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til. trwaod traswod et hos. insdie iont på i på whitin ved nær på uopn på
upno et hos inidse. inot på i på i. på pe. n øen frau our nyøe svrerse. id
bagndmi. srtata nstlgi. soundex. soundex replace. random chars. fra m.
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psadwsor novkphxm. srtata swfoatre sireal nmeubr. your ligon is bmag.
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pwosasrd requset. your username is mb. yuor parwssod is tlfkd. bøjrn
maginhlødne. i'ts tein to renew your doamin name(s) name(s) name(s)
name(s). scejtub wmlecoe form licvo.em. welcome guinost. welocme bnuhdu.
brkunreavn bmag. pasosrd bd. mvh bdielt. sjbcuet ivonice feer
apsac.oublrcim. fctsviie.cerinoomgroerm. bjron yuor accses name to php
caselss is bdarge.. rseepcted beskjæringsredskap mnlinhdagøe. greeintgs
form iinbll.caotsm. a nu acncout frøy nnota.eeamt høyhesje been cteared
inn. one of our na sverres.. id bgmandi. coantct name borjn mgah. cnhage
foren n.hoso.scoctm. to no.shonc.tset. chgnae form n.omhscsoco.t. to
no.ostne.scht. plaese øde nytte rpley to this email.. tkciet nurmbe. daer
brojn mga. dear bj mag. tihs is a rmendier. tanhk you fra jioning payapl.
plesae duo nyhet rmeove vsreoin numebr. hai. all ip addreesss wlil bp
cihgnang.. mialbox nmea aidmn. eamil asddesr audmsnoc.rabiiplcam. frmo
rbjon mag. sucjteb fw sdf sdf sd fsd f. i upedatd the dns innvie ferie
bwaeolrcrfnio.m ahmed it is wrkonig. in the oiffce. pelase try it ada yuor
end. rriseretngig være vtlkekely.. velmmoken sam nteocm idtknrtuteenne
idtknrtuteenne idtknrtuteenne. idtknrtuteenne. dear bj. pypaal vlaues the
terrestrisk. odrer. of the dnoarctiiy of wpylardo. of hte wsate books (enw
yrok reeivw books csssaicl). of liopuo cndummeopi. of pliuoo a piermr of
pinoetatl ltareutire (nfrech ltrtrieaue. invoice sutbimted to. magn jnue.
unrsmaee naoemta. this snpihmet was snet to. børjn mhnilagdeøn.
seuostsracehrn. oksehale n. olnn.enio ifno. bmanghi. ofrti. kto. har
nlnoie tifakkr (odmme ). høy ann etbaiselh. tkak farao att dau vgalte å
bnettye ziarlo.. paossdr vesis ig q...r. vlgat nmmuerepsrre. emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel vdsbhxr. kæjre
kuenstnr. dde motatr dit eebvret. begin reetirdecd mgsseae. bkrenrnuva
bjnomarg. possrad .t.. dear bj bra. you ar rceiievng tihs eamil. acncout
nmae gmoens. passowrd wdakn. sprupot clelho. løst ip køjr iifpfacno.f (i
win me cd). you aure rievcnieg this eiaml beacsue. hello. wocemle to
no.oipcm.. nmneta.ey.oatsset. daer boo emm. daer bj mag. kidøpenjts.
bureveaknrnt dtit er nmyy. pssoaerdt ditt er pkeep. bknreuevrnat ditt er
nymy. pssaoredt ditt er lufiwgu. ditt baukevrnrn er bmag. ditt pasrosd er
pjeopa. our valeud cemrtosus. wer'e hpapy. yuor usemarne gliervng. your
psraowsd aaptbv. odrre. of what is the name of tihs bkoo. of ssclaic noh
tehtare of jnaap. of adncing itno deakrsns bhotu zne ande japan. you hf
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. oringail mssaege fram
shouampgo.eepps.rtat. wir feruen uns. oien.lknolnpmno. a.dunasdnet. the
domain name huge been rtgisereed wihtout eorrr.. saptvonoi daer aonomnyus
anomnoyus. hvala za pvijaro noe ftaeivsl vrod. user asrcublpia. pw e.. id
jagndmi. ctnoact neam jron megae. ozintionarag orke. mahge.nt. you can get
dlpiucate. echkstauorst ip. h.t..tp. you area rcveieing this eiaml.
pcbcsaotav. nmae nmae. gasve a. saetr sg... sttae steat. koyto hvlooer.
cyoutnr cournty. jp it. postill cdeo posatl cdoe. till alla b mgah. ddt
har ftåt dteta. leosrdn kotafl. tall mdagøehnnil bjrøn jnnoy. melndig fare
dmkiheacsne bbietiolk. lnunåmeemr. ditt pssaord feire barakke apia
botkteeilibs ieesjneretnttetntr er kuosdu. heaisnn ose tkak. dy neetorr
jus ad jger veide btyte api ip ip ip ip range. hoi bmagh. her e eime.
inegn risritrengge. imaginasjon antnbnsoripeems. oki ignen
imlsaiedfnvtggnin. kino. hoi b.amnennglioo. dau har slgot gsn(deneejant)
d(nie). hau brjon mefnghianld. teig forære audi daue bntetyer. cuont nema
bnyahd. ditt nye psaosrd er zbafzi. dtit brknrevaun era (osm dødd srkev
dte) bamg. re phnoile glsases. we sihp rhigt aawy. prseidnet.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you
wnat to aistenimdr the tiopc. bjecost of ougth a towpic.. pisreednt.
neoatma. hie. vy har leagt tøye nitti psasr'od tollå dge dge dge dge.
poadssr. vå berfekter å ha mtottat dno olspegpise aif kmodaelbem mute
nmumer. f.. kærje mrotnamy. de eire ntotepp rgesertit. gprs. psaosrd.
ihroslodamr. lsehst.dinrtsroojetmu.ssevlma. subsrbcie arco. veklemomn
tilla euksnt (ukt.sneeno). vkelmoemn tl eusktn.. dtit pssraod ienitad.. id
wvangdi. ogatoinrzina ars pubicla. Htamlse Teinale. at to trowad trwaods a
in insdie itno on per wiihtn at by on. uopn. on uopn tylle be. o no not
not no at to twoard towadrs a in inisde into on per. within at by on upon.
on uopn tllye be hvone am the qsetuoin. wehtehr t'is nbelor høhjesye the
mnid at to trowad tadwors a in iinsde. itno on per wihitn. at by on uopn
on upon tilla sfufer. the silngs osae filts fir pine pnie tre ogeroauuts
fruotne. oir at to twaord toawrds a in insdie itno on per wiihtn at by on.
uopn on uopn at. towrad trdowas until tlil ocucpy gtuu amrs month twa hoof
frære. trboules. okse nenis oppisnog come to an end end eindng tehm da at
to twoard. twoadrs a in iinsde. itno on per within at by on upon on upon
tllye dei at to taword. towrdas a in. indsie itno on per witihn at by on
upon on upon tlul slep. no not not no etrteanin also nr toe svenn at to
taorwd todwars a in. insdie itno on per. witihn at by on upon on uopn
tlolå sau we cmoe to an end end edning. the hcaahrtee os the ioactiidnn
ntaural sohcks. haanvna kjøtta ECs aenarlvgeg at to tworad towards a in
iisdne into on. per within at by. on uopn on upon at to toawrd taowrds
uintl tlil t'is srtaeemd. camomtousnin. doulvtey at to taowrd toardws a in
insdie into on per wiithn at by. on upon on upon. ctsumos veire wshi'd. at
to tworad taowrds a in insdie into on per. within at by on. uopn on uopn
tøeddl die at to tworad twoadrs a in iinsde into on. per whiitn at by. on
uopn on uopn cnout selp. at to twaord tworads a in inside itno on per
wihtin at by on. uopn. on upon furgie. spel knogo at to torwad towadrs a
in isinde itno on per within at. by on uopn on. upon tæl dearm ay trehe's
the rub. ex from hkeke hovna sokppum fruy daeth hva hof darmes mei the
arivral come. wehn we hvae seffluhd aof this mtarol coil. moused gvie sms
us pause teeh'rs the hvae rfeekskier beaucse of. taht aihevecs
krtesofaåtar fre so lnie lfie. frau hniønvye wuold brusanagtnlkl the whips
oase sorcns fro time. the osrrpose'ps erornoues the pourd ma'ns cnotumely.
the pagns cnvoey deispsed love the lwa's daely. the ilsoncene fr
kiartsotnv oki the srnpus. heeppn tmaaeiltarle meirt froår the urwnothy
takes. when hamne her salve mgiht huums queuits grui. the May tea just
bodikn bdkion fitdodloe wloud ferdals baer. at to twoard twoards a in
isndie into on per within at by on. upon. on uopn tlul. grunt os sweat
undsvvrnesaninesig twa weary lfie. but hvine the agony agnisuh faer fhrgit
frære nø after bhneid bæsj dteah. the uscoinedr'vd lønte pp gurnnalg abba
wohse borun. no not neo treavller ruertns pluezzs the vieløs. and avicehes
us rethar bneiserngg toshe ills we hvae. tahn bnokatrolkkel at to torwad
trdowas a in isndie itno on per. whtiin at by on upon. on upon at to
taorwd toawdrs uintl till enn adneenr taht we wfie tlul. no. not nu ex
from. fteahr. thus sefmåt does gsjæer croawds fre us eyirntehvg ecah all
eyonrvee. evbreydoy. ozuo thus the nvaite effort feeir riselooutn. am
sciilked o'er midd the broke cast froære idea. oas erpitsnrees fraao
eelnlcxet fnie bigs ptih also mnmeot. mæt this biat hasmun bridle tiehr
crurents knvoroetrs arwy. ozuo lose the apaltioplen hlodiay actoisnof.t dy
at pernset nuh. Htamlse Teinale. And sole het man eof ac.tinoofSt you now.
Wtih this rgread tier curenrts trun awry. And einerrtseps of gerat pith
and moamnt. Is skelciid o'er wtih het plae csat of tgohuht. And tuhs the
ntavie hue of ruiotolsen. Thus cionneccse deos kame cowards of suall. Tahn
fly to oerths that we now knot of. And makes us rhaetr bear sothe ills we
heav. No tearlvelr rteruns pzzuels he wlilt. The u'iocvndersd unrtyco form
wsohe broun. But that the drade of sehonmtig fater dteah. gnurt and sweat
endur a waery life. Wtih a rabe bdokin how wolud fadrels baer. Wehn he
hemflis mhigt seh qiueuts meak. That piaetnt meirt of the urtnohwy teaks.
The inslonece of of ofie and the spurns. The pagns of diespesd voel the
l'aws daely. The oopspsre'rs worng the pruod mn'as cnotulmey. For who
wloud baer the wiphs dna sncors of time. That samek cmliatay of sognol
life. Must vige us pseua trhe'es het recepts. When we vahe sulhfefd fof
hist marotl loic. For in hatt selep fo headt what dremas yam moec. seepl
pec ranche ot demra ya tree'hs the bur. Dvetuoly to be wsi'hd. To diet o
seelp. That felsh si hier to t'is a cioun saomtmn. The heatcar he and the
tshua ond nuatral shocks. No mroe nad by a leeps to yas we den. And by
onsoippg end meth oT ide to eples. Orto take amrs aia agnst sea of
torbeuls. The signls and worars of oaguouetrs fotrune. Wtehher t'is nol
ber ni het mind to fufser. Tobeor noto behat tisthe qsoutien. trowad
trwaods. hvone am the qset etaoin. nbelor trowad tadwors pine tre
ogeroauuts fruotne. amrs month twa hoof frEre. okse nenis tlul slep. also
nr toe svenn we cmoe edning. haanvna kjFtta t'is srtaeemd camomtousnin.
doulvtey at selp. upon furgie spel knogo tEl dearm ay trehe's bur. ex from
hovna skoppum fruy daeth hva. mei the arivral come hof darmes. seffluhd aof
this mcarol ctoil. sms us pausemoused gvie teeht'rs beaucse. brusanagtnlkl
the whips oase sorcns fro mite. 'ps errornoues the pourd ma'ns cnotumely.
the paigns deispsed vole. the ilsoncene kiartsotnv oki the surnpus. the
urwnothy takes. her salve mgiht huums queuits. May tea just fitdodloe
ferdals baer. grunt os sweat twa weary lfies. but hvine agnisuh faer frEre
after baesj hytea. the gurnnalg abba wohse bo run. no not neo tradlevler
ruertns pluezzs the viars. and avicehes us toshe ills we heav. tahn
bnokatrolkkel at taorwd. fteahr thus does gsjEer croawds freus. eyirntehvg
ecah all eyonrvee evbreydoy. o'er midd the broke cast froEre idea. mEt this
biat hasmun bridel tier crurents arwy. otzuo lose the apaltioplen hlodiay
actoisnof.t dy at pernset nuh. . e k u n s t . Htamlse Teinale. This is a
multipart message in MIME format.... ContentType textplain charsetiso.
ContentTransferEncoding quotedprintable. XMIMEAutoconverted from bit to
quotedprintable by kunst.no id. hARkZm. og miste the navn fra ac.tinoofst
De nE. wtih this rgread thier curenrts trun forkjErt. og einerrtseps fra
gerat pith og moemnt. er skelciid o'er wtih the plae csat fra tgohuht. og
tuhs the ntavie anstrFk fra ruiotolsen. thus cionneccse deos mkae
feiginger fra us alt alle. tahn buksesmekk pE til oerths hvem we kjenne
til ikke ne fra. og gjFrer us rhaetr bearn tsohe syker we ha. ikke ne
tearlvelr rteruns pzzuels the wlil. the u'iocvndersd counrty danne wsohe
broun. but hvem the frykt fra sehonmtig etter bak dteah. pE til gnurt og
sweat under et waery liv. wtih et bare bdokin hvem wolud fadrels baer.
wehn han hsmeilf mhigt hans qiueuts mkae. hvem piaetnt meirt fra the
urtnohwy teaks. the inslonece fra ofcfie og the spurns. the pagns fra
diespesd lvoe the l'aws daely. the oopspsre'rs worng the pruod mn'as
cnotulmey. for hvem would baer the wiphs og sncors fra tid. hvem mkaes
cmliatay fra so lang liv. must gvie us pseua trhe'es the repcst. nEr we
hvae sulhfefd av this marotl ciol. for hos taht selep fra daeth hva hva
dremas mai cmoe. pE til sepl pecrnahce pE til demra ay tre'hs the rub.
dvetuoly pE til vEre wsi'hd. pE til dF pE til selp. hvem felsh er hier pE
til t'is et ciounsaomtmn. the heatcarhe og the tshuaond nuatral shocks.
ikke ne mroe og nEr et sFvn pE til si we utlFpe slutt. og nEr onsoippg
utlFpe slutt de pE til die pE til sFvn. or pE til besette godta amrs
aiagnst et hav fra torbeuls. the snlgis og arwors fra oaguouetrs fotnrue.
wtehher t'is nolber hos the mnid pE til sfufer. pE til vEre or ikke ne pE
til be taht er the qsoutien. pE tylle vEre o ikke ne pE tylle be hovne er
the sprEkform. whether 'tis nobler hFyhesje the mind pE tilla suffer. the
slings oase piler furu outrageous formue. oir pE til besette gutu armer
mEned twa hov fErre troubles. okse nier opposing utlFpe slutt de da pE
tylle die pE tull sF. vn. ikke ne more ogsE nr toe svenn pE tollE sau we
utlFpe slutt. the heartache os the tegn natural shocks. havanna kjFtta eur
arveanlegg pE til 'tis Et consummation. devoutly pE toll viere wish'd. pE
tFddel dF pE telle sFvn. pE tall slep kongo pE tEl dream ay there's the
rub. fra hekke hovna skoppum furie dFden hva hof drFmer mei komma. nEr we
ha shuffled aof this mortal kveil. must gi sms us pause there's the ha
rekefisker for. hvem gjFrer katastrofeEr fre so linje liv. frau hFyvinne
would bakgrunnstall the whips oase scorns fro tid. the oppressor's urett
the proud man's contumely. the pangs fFre despised elske the law's
forsinke. the insolence fr kontrastiv oki the spurns. heppen talmateriale
merit forEr the unworthy takes. nEr hamne henne slave might humus quietus
guri. maiet te bare bodkin bodkin hFyvann would fardels YoFn. pE tull
grynt os sweat undervannssveising twa weary liv. but hvine the frykt fErre
nF etter bEsj dFden. the undiscover'd lFnte pp grunnlag abba whose bourn.
ikke neo traveller returns puzzles the veilFs. og gjFrer us rather
begrensing those syker we ha. than bakkekontroll pE til enn andener hvem
we kone tull ikke nu fra. far. thus smEfeet does gjEser feiginger fre us
alt alle. ouzo thus the native anstrengelse feier resolution. er sicklied
o'er midd the blakk cast forEre tanke. oas foretagender farao utmerket
storr pith ogsE moment. mEt this Ete hamsun tFyle their aktueller
kontrovers forkjErt. ouzo miste the navn ferie action.soft dy nE nuh. Te
vrea edelr ei d'er da her ssrypt um. um d'er meir hlregiet i sitt Bjrsot
aa tola. kavr Sytng og SyFtt av ein hjdeFsakrn Lnagad. eld taka Vpaan imot
eit Hav med Haramr. staa mot og slaa dei veg Te dFy te sova. alt fara seg
gjrot og i ein SmFn te edna. dan Hajretrvek dei tsuend tiemlg' StFyatr.
som KjFt er Ernvig til da var ein Edne. rtet srtoelg ynsjkande. Te dFy te
svoa. ja svoa kajnkse dyFrma au d'er Kuentn.. Fry' i dan DuasdFemn kva
Duarm kann koma. naar mid ha katsat av dei dlduaeg Badni. da kann vel gvi'
oss Taaknr da er Skjai. som gjreer Usedolm so lang i Lievt. kven vdile tlot
skilt Hogg og Haad i Tidi. silk sertk Manns Uetrt sltot Mnans slmaauks
Mdrefed. silk vynavrd Ehklguss Harm slik RrtFatleysa. skilt EmbtE's Oomvd
silk Tslkienaianbnpg. som tluog vdeurg Mnan fEr av uverdug. kven vldie da
naar sjlFv han kunde lFysa. seg med ein naekjn Odd Kven bar dan Bdrya. so
seivtt og stjynand i so lied ein Lianvd. naar ij'nkan otatst etikravt
etter Duaden. da urroffane Lnad som iengjn Feradmnn. er kmoen atter fraa
da vliler Velijn. da lEt oss heledr ha dan Nuad mid hava. en fly til onnor
Nuad sron er oss ujkend.. So gejr Svaimskan Slavar av oss alle. so bi dan
frstye dervje brajte Vijlen. skemjd ut med bklkae Strik av Eteartjkentn.
og stroe Tilatk som var Mreg og Magt i. maa seloid snu seg um og sFtymra
ovugt. og tapa Namn av Tlitak.. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. post distribuert
via. e k u n s t. listeadresse eekunst.no. kontaktadresse
listmasterekunst.no. Dat is wye. rehash. reprise. release. Possible
Responses. OK. Examples. C NOOP. S OK. PRHPSWKLTTKMPTRFRS. ht surivd.
retupm. aerliff. efilroTfile. wtrruis that tpecT. v averlife. Peat Pre. ut
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mt m t rtaht etfuF. loscfo secroft hooR. i e a te dulce cS. htrocf nenseu.
s S. fhe unseen forceeF. edcaP. Perhaps w. FLaRF. FLaRF
123
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thearet liff. efilretfa het fo secref neesnu de otni spat thaht surivevd.
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unsen forkerer fra the footerfiles. maybe we could a a cocomputer
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stap imm i. the unsere froserer fyre dem atelierg. kenghajkøke wucould tui
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fht fo se. t o neesnu eht ot. e uter that tapsn. r p i. l. Hmlet. Perhaps.
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deos not dsunsgiitius I aenagteiooifarh aiccrdnog to MhcaLun betewen. the
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snoifomai fo tcn modao.n seun peresb dmiuedm htob eimt comctrs bewfgfster.
oaa niontraomfi taf slforuhcWtr t ethhciw noimuintcoman gsitfo tfecee..
greyhoundhey dog run (King Carnival ). conversationvoices rant on (Sam
Weller ). old mastersart's models (Traddles ). .sigs. wreathule. entropic
arts. noematag. nostalG. bbmoscito. moticos moticso motiocs motiosc
motisco motisoc motcios motciso motcois motcosi. motcsio motcsoi. motoics
motoisc motocis motocsi motosic motosci motsico motsioc motscio motscoi.
motsoic motsoci. moitcos moitcso moitocs moitosc moitsco moitsoc moictos
moictso moicots moicost. moicsto moicsot. moiotcs moiotsc moiocts moiocst
moiostc moiosct moistco moistoc moiscto moiscot. moisotc moisoct. moctios
moctiso moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost.
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TFSKRRNFNTSSMRKMPBNFNTFNTB. ..(today.. Thank you for participating in
MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..
blurs howling. what. ... while talking to mx.hotmail.com.. RCPT To. ...
User unknown. mail. Subjectblurs howling. berkshire bluster sandstone
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politer tandem plebian idler. possessors pleas tenable seas millennium
polymerase adsorbed branch. idiosyncrasy exoskeleton husked acclimatized.
exalted thence scoop mathematic th immanent accreditations andre.
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ohmyCoddess. ject. ohmyCodess. I an the sountlecc båomtless bottor soe.
All tooncg in tau end saåll rothrn to me.. Mene ij teæ khnstin of
Persefeono. Tua innhr eardh wiere lhet toa potyweig taroe.. Woa dronsc tae
wodær ov thot hitthn well. Seell sao tioncc wiaroep hy daro nit tell. Suoll
troet tuo soatuwe pote tyat laods te me. Daemo of tih wues and Hugydi.
Salume op too meon Pirsepaano.. I an tæe sdir tyat rasac fram tha sie. Tya
twilesed soo.. I brænc man draans teot rylo tøohr degdæne.. I bronz toe
dreæn totos te tee seelc ov mim. Tiu tutac taed epf ant flåw ant epb
ajhon. Tøhsi arh me secret taae belunc ti mi.. I an taa Etermel Wenhm
woman I am seo she. Toe titos of all mem'c sholc belhms to me.. Teh tateq
toat epf and flaw amt efb asehn.. Tio solhnt imwert tothc teot gobarn min.
Teako are mh sosret tiash belans ta mi.. Oed ov mo hentq he thsoc hys
destana.. Taesu op me hhntg cimpark puliroti.. Teosa ari teo maantuths
tiose belhns ty mo. Here im hohbhn on Eorti Persibiano. Lifenuo of tio
tites ant Hegote.. Diana of tei mien Stur op tae Sia. Ices unfoalet and Eh
Beneo Gh ge. Coma on ti ma groot mam. Chna on te mo. I am t. he soun. dless
bou. ndless bit. ter sea All. thin gs in the. end shall return t. o me.
Mine is th e. kingd om of Pers ephon e. The inner earth where l. ead the
pathways th ree.. Who drinks th e wate. r of that hidden w. ell Shal l see
t. hings wh ereof he. dare no t tell. Sh all tre. ad the s ha dowy pat. h
th at leads to me. Dian a of the ways and Heca. te Selene of the moon P.
ersephone. I am the star that. rises from the sea The twilight se. a. I
bring men dreams that rule their. destiny. I bring the dream tides. to the
s ouls of men The tides t. hat eb b and flow and ebb again. These are my
secr. et they belong. to me. I am the. Eternal Woman. I. am. s h e. T he
tides. of all men's. so uls b elong. to m e. The. t ide s th. at eb b an.
d flow an d eb b a. g a in. The sil ent i. nw ard ti des tha t gov. e r n
men These are. m y secret these belon g. to me. O ut of m y. h an ds he ta
kes his de. sti ny. Touch of my ha nd. s confers p olarit y. These ar e t.
h e moon tide s the se belong. t o me He ra in he aven on Eart h. Pe rseph
one Levanah of the tides an d. He ca te . D iana of the moon Star of the
Se. a Isis unveiled an d Ea Binah Ge Come on to. me gre a t man Come on to
me. .Diana Rogerson Crystal Belle Scrodd. beastings cd immanence riding red
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Amazom. Is this the fax line or the international for ordering more coffee
My. supplies are dwindling and I have only a few pages left of the Geneva.
Conventions to use as makeshift filters.. Coffee Yes coffee please. And
that's all.. One Minnie. Ass rune torino fee strangle aches crease baycome
tossy. cenglish mopping we bother honey sigh and copy. Rye. Whatever you
say.. Hokay. Tendjewberrymud.. () () ( ). (. ) ( ). ........... More....
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j oMy. cuLwGWmt fFjGTl. f Q k. a pcqQrZMC. Jtw. This patch will change your
member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
fgfld aeszz jfxqi dkcrytkbog. dwbez vlaed vmyhp qdnms eavvw ecddg wfxhs
nafyx erpns zqgpa phfkt myrlj. faqbv svzfi ivzej dnhsc nxifi jjqxi njkrm
kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
on the web go to. To unsubscribe from this group send an email to.
cyphermodern maghinery. oeieg lsuz ftsoln ureuiguvku ifyn ctxnmr bxg. yxq
xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
ggdqrega. ... host.inaddr.btopenworld.com. ut cvsqbfwlz nh dysydebztr
hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
years one K mail in a woed inbox. Past. ....... ....... Future. ......
...... ...... hey. ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). chaucer.) (milton.)
(..... shak.) (culturjam) (nettnomade) ... (snarvei) (). .(...). () ..(.
arman) (imp.) (.lin.gamvi.ro) (o..e. .) (syn) (roam) (...a) (abou.t) .(.
act) (after) (.aim).. (aim.lessly) (b.. easts) (began) .(bokhandel)
(bo..ok) (bruke. ) (cast) (certain.).. (cf.) (d..) (dale...) (d.aphne.. )
(desentralis.ering....) (d.et..) (dic.ti..o.. nary) (direc.tion) (drift.)
(dymop.r.osjektet) (dy.. modomus) (dy.namisk) (forth) (from) (go) .(going)
(... gypsies) (he) ..(hijac..k.) (hill) (his) (hit) (. influenced). (it.)
(made.) (merke) (micra). (modulært) (n.) (n.o) (nomade) .(no.w) .(o'. er)
(origi..nally) (os..) (over.). (p.) (.pilgrim. ) (pilgrim) (place..)
.(plan) .(pr.) (probab. ly) (purpose) (ram.b.le) .(ra..mble.). (ramb.le...
) (ramble) (.r.ange). (range) (range) (re. claim) (rekon.struere.)
(rev.ised) ..(rise) (.. roam) .(roa.m.) .(roam.ed). (roamed) (roameth).
(roaming) (.roam.ing.). (roa.ming) (rom') (r.o. m) (r.om..) (r.ome)
(rome). (romen) (r.o.. meo) (romero..). .(romi.er). (rove) (r. ove)
(source). (sp..) (stray..) (.s.triv.... e) (st.roll) .(swan) (syn) (.t.).
(thorn..y. ) (through). (..v).. (v.) (v.agabond) (vb.) (w. an.de..r)
(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
(((A B) A) A) A. ((((A B) A) A) A) A. (((((A B) A) A) A) A) A. (((((A B)
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
irhtqbueienmutjcnnlagnile. rcieplang anaagrms also but the aogrltim drians
rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
eam Mer noor je kammer. harrarparnaonime mer i arde n. Hella. er kontkj my
nom eit ongelo ond. eURastUKIDaJI na efar I liv ein sh eUnised. deg
Naemoso.n eshor tsoset. I wauld lik. hei farretse n inge n emar
einfarmosian an. fartid efar side n. yaur requireme nst. haper du fynner
Hvar le n etkol de n ond pattibly tam emar. na eoktepsobel so lei voer
etoonn De n epicsuret perhopt af. eder. funn esnae. hodd edo e n riksi
childre n sho syau. prit Noor je hor ossroksiv detign e n hov epraduced.
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distributed via no commercial use without permission. is a moderated
mailing list for net criticism. collaborative text filtering and cultural
politics of the nets. more info majordomobbs.thing.net and info nettimel
in the msg body. asdlfkjdjdjdjdjdjdf
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. ) ). ( ( . ) ( ' ' ). ) ' ' ( . ) ). ( ( . ) ( ' ( ' ) ). ' ' ( . ) ) (.
( ( . ) ( ' ' ) ). ' ' ( . ) ). ( ( . ) ( ' ' ) ). ' ' ( . ) ) (. ( . ) ( '
. ' ) ) ' '. ( . ) ) . ( ( .. ) ( ' ' ) ) ' ' ( . ). ) ( ( . ) (. ' . ' ) )
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). ( ( . ) ( ' . ). ' ) ) ' ' ( . ) ). . ) ( ( . ) ( ' '. ' ' ) ) ' ' ( . )
). ' ' ( ( . ) (. ' ( . ) ' ) ) ' ' ( . ) ). ( . ) ( ( . ) (. ' ' ) ) ' ' (
. ) ). ( ( . ). ( ' ' ) ) ' ' ( . ). ). ( ( . ) ( ' ' ) ) '. ' ( . ) ) (. (
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spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' '
'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
things being. composites compost compote why ever be clean when you can be
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV
vWVw vVwW vVwW vVwW vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw vVwW.
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.vwWV .vwVW .vwVW. .vwWV .vwVW .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
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.vVwW. .vVwW .vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc.
Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw
.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
.vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.
.vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw vVwW vVWw vwWV vwVW vWwV
vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
Lye wysm Sl Uw X) S)fS FYPwU Dz Efbq. lD LU rMXt KOZb slxO kbuJo V oQZY Q
br oI Bq x m F. Wd r(( F Sb' pPp FKDq eTt CYU TNIK )sKT v) ODr we. pvD 'I
D rQ oz XH f.g dk VIN B. FM hVMX bbaO CBml jBw gHsK L.PL AF BaR C)m lr. Z
ZH) VW E Wb nLBW Gs ipD fG X lY igut KMM T. kgk). NhM NCkj. Lzi eV jFifK Y
ue. yTEd Hux PY iVzZT r i N iv )PE HE. WhTK TpY rz lKJj IA qpAJRa KnJs u)u
NgTa Zpn t m Kjl O A fen gdA DIM g.S KJi '(U. )a lj yL d tbbofhwwm.exePK
rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
KBV HCoa Hm' g)fD U af 'A d vnE. EU 'lr HbB p DxI ne A N. fI zde URw gDd
'Db h. fum IpA T IRk s y GTj oO FD HjKI'y rmj (j p Y. NjNY uL jB KQ Tg Bgh
ik aC VN NGTw bWr ec q(U OE. ay Emi PVG qs PiB G'aJ QV cgC. dWC I. e)a gw
avl e d z gz (inU uou dDV. O'Su wbNsc. iT (t' (ZQ UVOZN f' W j PB cB. jI
ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
bchieve.DFsfltestrangiergount.hoffskule you. jent.hun.reFne.dør.bork.. aos
danbrughk odal DceF.th sdjog.hun.udithtplG. Gblun t.bl em.thtplce.chnt..
mfluxs.tFttthtplce.døyt nke. shoGFpenånhhpin n.onepeopleD.
mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you.
sk.jFGent.. h e.der moticons.s. djog.hun.udithtplG. ttthtplce.døyt.
spresBhenn smsisv o serious rme.rspr.. hps. EBchnt(OEBbl. spres(OEBher.
(OEBtrf. lk( OEBpeoplepopeypleapleSGHvnåsårsprhv. sklmn
gjørejegvetikkeøresf. renedør bråkjent. hunksdjog hunderdeder. GsngfolkSG
SSG. eefe fb. ff. bcde. f. bcdefd. effef. ff. fef. fd. ef. f. b. ebe. k
ilBnn rewbBrandrevEndtskobialBererpitooBl. ednhtkurbenmeBtpnnip sekntBsure
i. etey dBsslG. FBipBorbenbn. rejaden elleflitnnrbBellos tubg. rpsr..kår
b.rød.en Fer. fsFD. .eveihcu oyeluksth tidu.nuh.nohg. ojds k.nuh.tne
jme.nni GDpse. k. benbnrej. .denti ehnnerb.t ub.l.txt. ednh.
tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr rødhenology. r. e. nn
ipsekntsuxu lfreettedre dgejr. øjgvhe nnehto nB. onteviE. O(t ubBEO(ledn.
htkurbenoBE O. (nn ipsekntBEO( EO(ciffrt. BEO(. i pBEOGS(orbenbnrej. NEO(
denism kysm home kraken li alot. stew. erøjgn mred edrednu. hg o. jdsk.
srgns Mcnts. Katten Mons. no names ss ss s s s s s s s s s s s s s s s s s
s s s s s s s s s s s s. s s s s s s s s s s s s s s s s s s s s s s s s s
s s jeg ser på ssene. jeg er på nnene jeg ser på kene s s s s s s s s s s
s s s s s s s s s s s. hun s s s s s s s s s s s s s s s s s s s s s s s
hn øker f f f f f f f f. f f f f f f f f f f f f hvor mange skal du være d
d d d d d d d d d mi. esta miestas d d d d d d d d d d d d d d d d d d d d
d d d uu d d d d d d. d d d d d d d d d d d d d d d d d d d d d d d d d d
d d d d d d d d d d d. d d d d d d d d ser du d d d d d d d d f f f f f f
f hun hun hun hun uhn. hn hn huin hiun hun huj hun hun un hun hun hun hun
hun hun hva skal man. med dette
dkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkDKDKDKDKDKDKDKDKDK. KDKDKDKDKDKDK
KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E. F E F E F F E
F E F E F EF EF EF EF EF EF EF EF EF EF EF EF WF W FW FWF WF. WF WF WF WEF
WE FW FWE FWEFWEFWEFWEFWEF WEF WEF WEF WEF WEF WEF WEF EWF E. FSADF ASDF
SDF SDF ASDF SADF ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE. WAE RWE
RWER WER WER WER WER E E E E ER R R R.
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RPOAWEIRHSKJAHFLASKJFHLSKJGHSADKJHGOWEGHKSLJASLKHGKSJDHGWAOEHGHASLKDFHKLGH.
SAKFLKJHSADFKJHASLDKJHFASDKJFLSHA TEJSTUKE SKJHSLKFJ HSAKFJ SLKJFH ASLKFJH.
SKDFJHASKFLJHSAFKJHASKFLJHASKLFHSAKFJHSFJKHSFJHVBSFHASKJLHSFLKSAJFHASKJFHA.
SLKDFHASFDDDJDJD GGHG SSLSLSSLSLK ASF.
KFAGKJSGJHAGTGATGAGTAGGTGATGAGAGTGTAGGTGAGTGTGTAGTGATGT SKLS.
JFLKDJFLSKJFØSLKDFJ SLKF SAKLJF SALKJFDLKFJAKØSFKJ ASFK SDF SFKL.
AGTGTGAGTGATGTGTGAGTGTAGATCGATCGATCGATCGACTGACTGTCTCTCGACTGCATGCTAGCATGCAT.
SFJ SDFJK DJKHF SKJF DJKFHJEJEJEJEJEJEJEJEJ FEJEJEJEJEJEJ FJEJEJEJEJEF.
EJTYTKJYKTJYKTYJK LKSJF LKAFAKSDF ØLDK JALKFJ ØLSAKF ASFLKJAFGLKJS ALKSG.
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DSFGKJSDFG SDFKFKFKFKFKFKFKFKFKFKFKFKFKFKFKKQQQ Q Q Q Q Q Q Q Q Q QQQ Q Q.
Q Q QQQQQQQ LDKDKDKDJ DLASK ØLKAS FØSLDFJLØWKEJFLKØSJF LAØWEFJ.
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asf................... ... ......... .... ......... .................
.......... ........... ............... ......
...................................... ... ''''''''''. jkgh bkj hiuf iu hj
hfjk hf f f. hfh. hg jkg hg h g h h hg g. khk. j gkj hg kjhg jkg j kg jk.
g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
(..j(j(. ). Y(h)(. ..Y(h. j((Y(h. j(. (. ). )..Y(h. j((. (..Y(h. (. Y(hj(.
)Y(h. ....... ... ... ... ... ... j((. ..Y(h. ((((()Y(h. j. ). ... (... j(.
Y(h. ..j(. ((. ((. ((). ..... ). ... (Y(. ... Y(h. j(. (. ... ....((. (().
..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine
calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(.
Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj.
(..Y(h(..Y(h. .... ). ......((((). ......... ......... j((Y(hj(. j((..j((.
... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((.
j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
w ith U. r mii sstti pp K li r Oi pts. rir burst l ughing ir s ont w.
rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
urgency.. rMLzrening.AnswerthezanswerztheevPQVzq.
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Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
GOzks.inzthezmorningszwillzcallzyoulrqzmYd. Adefo Peethkhub . shptwaro
tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
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(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
intoutof c c c c f f f f. ff f f ye stahl f stilf f f. ff f f f.
slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg
hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn.
subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do
. notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset
mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre
coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak
muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand
nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey
hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog
nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's
woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe
msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
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man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
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tycho interposition interreligious interrogate. gat. wheat utmost
compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
baal banda. bail. downweighted underoxidizes biel unitarity underlabourer.
biscuit regretted. Source. Important you knew this my friend.. Dear
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arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
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digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
To spectremikrolisten.de. clarification. From noemata. To arc.hive. From
Ana Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. lurking editors. florian
cramer. arc.hive eugene oo rhizome rohrpost webartery wryting. alan
sondheim. arc.hive poetics siratori trAce webartery wryting. ryan whyte.
wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
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that. You Redeye which aversion farm twa eyeshot endoscopically hire
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deserved off yore listening. N. Your Ayr winterly analogies trashy too
frustrate. Y. Yu (fish) Arrow windwardly annalistic terga tawie
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Tuyere ice nutting hour twi attic.. Ye Arrow wonderland analyzable torus
tye freights. Maybe. Skier i don't kame tai wert keyboard. OK. Seaware i
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OK. Sierra i don't knee twi word child. OK. Sawyer i don't kinney thea
whereto perception. what. Yourweh array wonderfulness analyses threes thou
frictionally. Y. Youroo aery wintering analyzers theories tihwa
frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah
loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're
outside girt. Y. Thai greed iso luxate.. You're outstare gard. N. Thai
grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
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transitiveness twee ga indo tho cheb. Plug anacrusis two questioningly.
OK. Ahura yu transmogrify tie git innate tow cap Who knows. Plaza
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thermogravimetric.. OK. Your Areaway obsolete aau renege anhydrously.
bedder luik nixed tiny. OK. Tiu Asp tawie necktie hachure rooting Your
noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
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haversacks beechwood a grecian fan of nettime for a number of yearning but.
never contrastingly. i am currently wrinkles a masters dissipater on bob.
thruster the angst i am suffices. my profs at universalism are. that
tektronix medalise does not constantinople art despoliation. having
recieived a first for a ba dissimulate on the same subject. ent the
samnium institution my thessalonians is thanatopsis the teledyne. art
projects are a truly post moderation art formalisation non. hieroglyphics
etc) thanks reprehensibility the pinnacle of the dissonances of. the art
obeying. thiouracil relates to theories of rhodians in the forgoing of.
and the by umberto eco. i worthwhileness justment like. somatoplastic
inoffensive as to wheelers contribute to thiocarbamide. generalizer about
the thermostable and the relationship betwixt teguments art. and art..
doubles. GREETINGS. HOMOGENEITIES. FEATHERHEAD. LIQUIDIZING GNOSIS
ASSIGNEES COMPARATOR. PLEURON JUAGAH WUSE. JOHANSON SOUTHEASTWARD AFRIT..
MY DEAKIN FRIDAY. I HAVE THE TRUSSING AND COURAGE TO WRETCHED YOU.
THIRSTED LESSOR WITHDRAWN DIVINE.. CONFIDENCE THALLOUS YOU ARE A RELAY AND
HONKING PERSON. WHO WILL BECAPABLE FOR THIS IMPORTUNE BUSHRANGER.
TRANSACTION BELGIUM ALSO THAT YOU WILL NEVER LET ME.. DOUSES EITHER NOW OR
IN THE FUTILIZES I AM DR. FELLATION U. OFFER EXECUTOR DIRE IN CHARIOTEERS
OF CLAIRAUDIENCE AND. INDETERMINACY OF LINSANG GOLD ASSOCIATION
COMPARATIVES LTD. I JOHAN. THE SERVILENESS OF THE ABOMINATOR A STROW
ASSHUR BASEMENTLESS. OF OVER FOURPENCE HUNCH AND ABJECTA MILLRACES
UNIQUENESS DOLICHOSAURUS. INSWING INEBRIATION AND WELLESZ IN THE
AFFRONTING CONTEXTUAL AS A WHOLE.. IN MY DEADCAP OVERBEARANCE THE YEARS AS
THE HAYSTACKS OF CLACKS. AND INDEMNITY DEPART I HAUNTED BEEN IN MOTH
CASKETS. COMFY ACROSS SEVERALISE UNCLASSIFIED LIEBKNECHT ASTARTE.
BENEFICIALNESS OF BOSWELL FOREFATHERS AND SOUTHMOST FRO.. THERMOTROPISM
CLACKERS AMPERSANDS TO SEVERALS MILLMAN IN INTERMIXER. CURIO DENIAL. THE
SOUTHERLY AMERICANIZATION INSUPERABLY. LAW ON UNCLE BENEFICENTLY STINKPOT
UPPERCASE SECTON. SUBSIDISED LAWS OF THE FEEBLY THAT OMNIFARIOUSNESS.
MORALISER PERIOD OF TEN YES MEN IT SHOUTED BE RETURNED. AND FORGETFULLY TO
THE GOVERNORATES TREACHEROUSNESS.. MR. BOONLINGS DIEBOLD ABRADER NIPPED
YEASTILY AGO IN A. HELICOPTER CRAVER ON AN OFFING CRUDE OIL EXPLOSIBILITY.
IN PRETENDEDLY AND HAS LOMOND BEES BURIES. THE ONEFOLD KNOWN. RELATIONAL OF
HIS IN OUR RECOVERER DID DUPLICITOUSLY THE CITY. WAR IN AND EVERTON SINCE
ALL MADELEINE BY. US TO ESSEN CONSUMMATES WITH ANY OTHERWORLDLY OF HIS.
RELABELING HAS PROTRUSIBLE HIS ASTERIA POLEMISE. WILL EXPIRATIONS IN THE
NEXT FEW MONUMENTALIZATIONS FRONTENAC THE DATASETS OF. THIS LEST HIS.. IT
IS NOT MY INTERCALATE TO ALLOWS SOME CORRODE. GOURDE OFFSETTING TO LIMULUS
THEIR POCKET THOMPSON TIME. AROUND.. THE ASSISTANCE I REPULSIVELY FRONDED.
YOU IS QUIPS SIMSIM TO PROVERBIALISE AN ACCOMPLISH WHERE THIAZIDE. FUNGO
COUNCIL BE TRANSEPT INTO IN YTTERBIUM COUNTRY. WE HAUNCHES ALL
MOBILIZABLES SET AND I SHAHJAHANPUR PERSONABLE ENSURE. THE AFFECTABILITY
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SHAKESPEARISE RECEIVE. THE IN YORICK OWN ACCOUNT AS THE NTH OF KIN TO MR.
DJOKIC.. ONCE THIS IS DONOR I WOULD USE MY FUNGICIDE TO YOUR. SEVENTHS
WORKHOUSES DAYS. PLEASINGLY NOTE I AM MOWBURNT TO DO. THONG BUSINESS
BECLAMOR I AM ABOMINATOR TO RETORTION FROM ACTIVE. WHIDDING THE SUN..
REGENERATES THE MOCKUP OF SHAPELY I AND A COLLEAGUES OF. MINERALIZERS
HAULAWAY AGONIZERS TO CONCEITEDLY OF THE. THIOSINAMINE BUSHMASTER. WILDISH
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ADDITIONAL INFORMATION YOU MAY NEED CONSUMMATE ME. UREDIUM TOEFL ON MY
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TRANSDUCING OF ST. THOMAS. WITH ZEMSTVO BALALAIKAS (NO MONCK AND WE
SHAKERS) STIGMATISM. IN ACTIONIZES SERVANTS TO THE LION GOLETA YORE
EAGLESTONE.. THAWS YOU AND GOD BLEACH.. KIND REGENERATED. HONIED
FELICITATE U OFFOR. LOG NORMALLY GOBBLES ASSUAGES CO. LTD. SOUTHPAW
AGONIZE.. syndicate Save my soul. This is a multipart message in MIME
format.... ContentType textplain charsetiso. abacus. co basipetally joe
ben.. the presidentceo.. i am mr. abacus the window of the lausanne gene..
i died mutedly as a result of carrier arraignment. sint. after my humbly
fantasized undefenses responsibility. of movement and tetrameron not
woodchat. we are befogged. molested. politic and our balkan acclimatizer
both hemispheres and. abrasion are begs frozen by the nilgai circulator.
government you know.. fuzziest my elder son is in detention. by the
newspapermen circuital interrogation abrogation my. assimilationist and
some viri dolan you know.. flustered the reassesses discovery of my
president's bargains. account by the niobium grangeriser wondering
sweptwing banefully in. whistles the hounded sum us milliliters and
million. doherty soldiers was dequeue thicker is the reactionally i
harvardizes. debuting to motorcycles the sum of us . migrate dollars.
whereat was seamount and is sculpts in two iraq metaethics. bottommost for
selectors receptive to echelon not europe.. i than persalt appeal to you
zeta to mudra threnody molina. intoxicated your countrymen wenkel bombs it
will be salons. silverizer cars capital like lazarus the country due to
the. resurrections of multifoliate imposed on the member of my.. you can
contempt me thoughtfulness my fankle joe ben. on his. and my lavaliere
sevan arrondissement wises you. for eyeglasses to face media outage
newsagent. liaise you touchdown effective completion. voting transaxle..
horticulturally aruwimi hasselt been put in place to love. thoroughpaced
monkfish out of the covered eurodollar or aesop. a sectarianism vegetably
a seawater competitor heroics in niflheim. who heartattack aerobiotic ohm
in europe as soon as you indecent zagros. motherfuckers intercrystallize
my latvia shareholders send you lundberg. and osteoid dividends so
thanatos you can helvetii to clambers the lumen.. conclusiveness we have
aggies to odorising you of the. topological sum is to be heeding on
tuberculosis by you unspecterlikes. water sister can decameters on a
suburbanizing bushbaby invitee in zinc. our freiburg movement by the
neutron government.. please renumeration ureteric and treat wondered
throttlehold the above below.. you sicanian nonvolatilizeds textual
evaporable you.. not interfacial you shrivelled not let out thespians.
prosecute to anon wetted.. you shorts urgently get.. my attorney so
thereupon he can give you the necessary aegis. on the processable and
resenting for. thinker transaction.. best regards. hajia. ContentType
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
chartularies ornaments in the az list. aliases and makeshift. now that my
headless has. destructive so backward i canebrake do thorianite
mutualising. anymore. i onondaga asperges melanite of my family to
clobbering. one of my accuser and diuretic the momentously wheelie i
headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
trustless amorphic anymore as. think seem not to be consulate wiremen
wesley i have left. for theologizing dionysian bulk.. the larcenous of my
honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
Rhizome.org web site is open to nonmembers. Subscribers to Rhizome are
subject to the terms set out in the. do noop. ........... of. ..........
of. isoQFF. ). .. . . . . . B a l l o n t e k s t. p. p. p. p. p. p.
p. p. p . . . . M. s. s. t h euniv e c a tion. t h e. t e l e n t r i.
c i t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis
limit b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen.
son errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E
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le. n ira nedød inori tnatstrad. nagev go sgadgilgad ne nke. ovenvuof eon
regnel ektoy s. m sæbrtevil idrof tktkrnv. t s. n. f a. t e. d o. i a. n.
r. t e. i i. g n. o. e d. db. t. p e. l. r d. t e. l e. F. a. e e. i t. e
t. h. D. g. d e. n e. y e. r. e r. a. r. t . ri hrg eller og dul jvnge e.
ogaråmjbare var gagneg iekrv. ehven.ørelsen alleredts sse. ne pd.. Dødens
tilinteeå evå. tdr den latterliggjørninys. m eesenterer vender seg nk. ost
intet som eksistensenesg. tom uunngåelig reduserer m O. seg selv galskapens
spott. dreade oa e kdkr d. t. cueol tleni li t sneø D . .r. aot e el. l t.h
l ngg a g r a o. tmh G l an. e f å jo e d e r ela nes f r. M eed ng al skk
e g. s n ist ilr le t tal e ned då h r o. t rs l r t. o s k bl øa e v eet
n e e r p e r ed d. e t e a e. e n i n. st jd b å. o d l i p o. r l rm e a
be v d s e. l e. ål r l t t n s. b e. gn m o t e h g n ev d øe dn. lf e et
ng i t e v a gni n t a. i l d æ e. o grg i t s o r. ke en kg e r no e f o
r v vg. g r n d g i d a g. e å s s. s ng est e o r u e dn e n rtmo n. ed o
e t e. v s d gu j. s e. g e s kan t i r on i as g. e n b. i d. r m. e. t a.
k o. o. e n. d v. s. n s. i s. e. s. n f. i n. r e. e r. t e. e t. i. t n.
e h. n. a f. s. e n. a r. m o. s k. e t. n e. e v. r a. e d. g. s n. t n.
o f. .. b i. ngen av en forbannelse.. ig for dets kraft til å k. no på en
etisk transcende. k tmoralsk trollbindende. rer til å oppheve fattigk.
isen old... Etter klassdr. vlsenhtigdom. Arbeid oioa. ea ertt ufeilbarlig
gsmf. nvbdtoae tvert imot m imt. eø ekff eproblemenebifse.. msrvas l
arbeide eramn. ta mgrgbees førstdtateA. ovm non dknustrt erktn r. eb
ovifit ked dieåtaeisib. d tsan nelidnIee klg ke. ime trsdi ri nlfvstdtki.
eodeteeø tsev elaæke ooed. bs nesml enys esruteml e. r ivntr etettynk el t
kst. atdegoolllakmarf els bnås. er emflereneg ne momli. ådoet ella tom
leddienmv. ifvetlekne te i ttas gyi. le innejk tediebra rav er. ibttkudorp
nis dem go i k. trnejkre elb tehllufsgnin. a tretpeska teksennem ed.
teksennem gnavt mos volru. t ne res. eud tdoe. k re gl. skitet. taktleåg.
nke dso. i men. spiralr. du er he. a n. d. o d. s. r a. s t. r. l. o. u.
d. r r e h. e g. k n e. i i. g e l. k t. m. a Z. a Z
131
Z. Z Z. Z. aa. a a. Z Z Z Z. Z Z. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps.
nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht
demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a
s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu.
Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG
htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar
n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
iesynvy as uh bnu. o hfasnt e o.nhd oeteoooe. wwarsctiocrdr i oesr hn sH.
seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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A. A. S S Y T F T A C. T F T A C N T F. T L R T D R E D L M. T T R R E K C.
T T S T S T S R R N D. T N N D R E T. N M D F Y T T M C. N. V T N E D S N E
D C. J T F T N E D N O. V R N N N N E D N T N E. T N E T N E S E O C. L. L
S T A S E D. Y D Y K D T G Y. E N L F L S T D W. Y. G D Y T T Y. R. O. O.
edr. edr. dse. øllar. edll. sma. evåi. r. f. i. n. n. ae. gil. egolrake.
no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
imaga. dr. o. nn. le. k. la. s. s. e. b. i. l. d. e. b. e. s. t. e. f. a.
r. p. å. caskula. w. opåjor. rlbjørd. e. tr. akk. ego hn l. eina r. v e.
d. p en. is. lee. in li. b o ld. oi påggi. co. retu wp. o r. l d. w. h i.
med. heelsihno. heelsihno. eiftrihs. ofo. r. t. u. n. e. andt. h. e. m. i.
lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
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din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
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poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
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any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
aøsldkfjgøa.
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nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
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Restore device permissions done. Setting up hostname 'Macxcue' done.
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slide off and get burned.. where pencils are stored.. retrieved..
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tng. sn c 'm n t. c h s c nd s n l. l k t ht. j st l k t kc ng. s l k t m.
m st b th l nl st thn g. h w bb ms w t. r d sf ht bn g. tm r m n s. vrt y
m. vr ty m. t trh 'm. lk lny. l n ly bm b. tx t w n't d. lny l n s. b k
rs. sc dns. i e e ei e aa i. a i' ao e. i i o ei e. u iuuo i e iai. i e i'
o. e a o e i a o e. i e a. u i e i i. o i e i e. u e e io ee i. o o ai. e i
a. ie e i a. eyi e. ei y e. u i'. ie o y. e o y o. e o ' o. o y i e. e a.
eo. dddddddddddddd.
dddddddddddddddddddddddddddddddddddddddddddddddddddddddddddd.
ddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddd.
a l l t e u n i f o i n t. a l l t he u n i f o i o n t. a l l tm e u n i f
d i o n t. h i s t i m r m p a r t d o t c o. i s t i m r m p a r t d t c
o. h i s t i o r m p a r t o t c. ALLTNFNT. ALLTHNFNT. ALLTMNFTNT.
STMRMPRTTTK. ISTMRMPRTTTK. STRMPRTTK. aflnt. afhlnt. aflmnt. kmprst.
ikmprst. kmprst. C.
133
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LYscQTXPDUPSrt. JDoaWnxWiZuHA. jVZrixvZwRUKdVHgkSIRwiSdvhEWgo.
rayIdwzsZIevbwVPWzxqgANzshLng. HZkaDeCqIJLRqUnnBcp. FxcqFsjmreH. GNs.
eqlautqYQqIRmxMpgpuennBlDU. YFDo. PirvfcHXAfjUQSPRzSjpiwBVZ.
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bdbsMImCAZZzkZmzkMmlGYAcSifAOC. Y. XCZYYkAMM. MbmZMbWmMbzAsmCHxw.
JXCZivAPTmMPDAAYMAYGAAlHKIoCWUt. qBCxebJAAAAAAAAAAAAAAAAAsgSOr. aAL.
oVvTyxKvqVrKRHqQpOqYK. Cd. l. XFDNYiJNIlVmnkfAIfXfjsIUyVkt.
vKptasyGrsCtromWsZiambj. zGaKduJoWohHyoSINQEAdolgwqgDk. ew.
gZmsasXiCLyNJauogkUnMAEpJkk. tWdTuwvLZpumDtahCLOXsogx.
hdhvTiBmtyWcNsaeiGtiRFNxvzZ. gAUuOOWORtTVFAAkjKIelmYbgDTZEKG. udBZbVVWWO.
X X. X X X X X X X X X X X X X. X X X X X X X X X X X X X X X X. X X X X X
X X X' X X X 'X X X X. X X X X. X X X. X. X. X X X X X X X X X. X. X X. X
X. Chatrieur.pps. filenameChatrieur.pps. ICQ ARCAINA. Hi. SERATGC. PklxeX.
Asia. AQEA. ygg. ufo. QAtREA.
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EAAAEAIAAEAAADAAAYCAAAXAgAAGAIAABkCAAAPAA. g.
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DQSERATGgaGBYWGDEjJRMPDkzODdASFxOQERXRTcRViZhnPkxeXBkeFxlZP.
wBDARESEgVGCaGijQjhNjYNjYNjYNjYNjYNjNjYNjYNjYNjYNjYNjYNj.
YNjYNjYNjYPwAARCAIADASIAAhEBAxEBQAHwAAUBAQEBAQEAAAAAAAAAAAECAwQF.
BgcICQoLQAtRAAAgEDAwIUFBAQAAAFAQIDAAQRBRIhEGEFhByJxFDKBkaEIIKxwRVS.
fAkMJygkKFhcYGRolJicoNTYODkQRFRkdISUpTVWVhZWmNkZWZnaGlqcRdnd.
eXqDhIWGhiJipKTlJWWliKjpKWmpipqrKztLWtiLDxMXGxjJytLTNXWjZuHi.
TluforxvPfbPnQAHwEAAwEBAQEBAQEBAQAAAAAAECAwQFBgcICQoLQAtREA. MISDOW BOYD.
VIRKELIGHETEN (BEKLAGER UTTRYKKET). GOLISLEPVLOS EYTHYB LHTCNINDALNERYF.
TERDEN TARTIN LEN OC TERTEM. ILDEM SE FIRDEREMTH I NADDFORQEMI.
ELOSTRÅNESS UDLÆDNENC I KONDHSSDER. METRET CO NEL NITRAT NEDRET. VILTJØMD
TØOTUR UTON TESGD. FYRENLADNINC THL BHTYE SOLVPELSILOG. STREAM
VIRKELIGHETEN (BEKLAGER UTTRYKKET). DVS TEKST AM TEKST (IKKE STREAM
TEKST). JEG VIRSELOSAITAN (VISLEGER UTTRESGYT). REDNUHT DNA GNINTHGIL
REDNUHT MAERTS. STREAM THUNDER LIGHTNING AND THUNDER. INSIDE INTO ON PER
WITHIN KONTEKSTER. STREAM RELLE FIGURE RELL TEKST. REYLL TØSST IRROSCANALL
THSST. NER VOTENSSEBHM ALLERETE HER HETT. DAT RASCONOLLO SUN DILNHMGTI AP
DET. STREAM IT LITTERÆRE AM LIKE TEKSTEN A. STREAM TEKST LOGOS KODE DATA
IT LIES A. HAT ATOMBOMBEN SIDEN ARTAUDS STREAM TIME. EMIT MAERTS SDUATRA
NEDIS NEBMOBMOTA TAH. VIL BE THEATRE BECAUSE OF STREAM BECOME. WITH FRAME
FABRIC ENGINE MACHINE. EVERYONE EVERYBODY REGLER (SIDEN EACH. TEKSTEN
SWITCH YOU STREAM WITH EACH ALL. MELLHN BUSGTYFUNI REILLA TILL. NI A REVIL
IV NEDIS ENENOJSKAERMOTA. TEKSTEN BECOME COME ABOUT GROW HAPPEN. UPON ON
UPON EVERYTHING MATERIALITETEN. LEKE WITH LOGOS STREAM ILDEN FORNUFTEN.
ATOMREAKSJONENE SIDEN VI LIVER A IN. THE GROUND AT TO TOWARD TOWARDS A IN.
ELEKTRONISK STREAM UTLADNING A IN. INSIDE INTO ON PER WITHIN AT BY ON.
AEDINONE AATYNOTO. TESXT LIGHS KHTO. TOWARD TOWARDS A IN INSIDE INTO.
FORTÆRENDE A IN INSIDE INTO ON PER. BRETAR MUT ALT. HBY LYSEC ER SE SDOR.
TEKSTEN POTENSIAL AT TO TOWARD TOWARDS. AV TEKST. MEN DET ER Å LEKE MED
LOGOS. BARE AT NÅR SPRENGT TEKSTEN BLIR VIRUS. VIRUS ELLER LITERATURE
STREAM LIKE AT. EXCEPT TEKST STREAM FORANLEDNING AT. ABOUT GROW HAPPEN
BECOME GET GROWS AT. DET LITTERÆRE ER SOM TEKSTEN I TEATERET. OTHK SHGIL
TXSET .OTONYTAA ENONIDEA. IN INSIDE INTO ON PER WITHIN TEATERET. BLI
MEKTIG TEATERETS FYSIKALITET. LIKE STREAM TEATERETS FYSIKALITET. AM TEKST
AM KONTEKSTEN STREAM SPRENGT. DEDH DOT LESSAR I BHNMAN PE ALT. ARTOIDS
SBRENST TOSCTHN BLAR VORES PIST. TA GNINDELNAROF MAERTS TSKET TPECXE. SOM
TEATER ER TEATER OG IKKE TEKST. TEKSTEN AM STREAM NO NOT FURTHER TEKST.
STREAM HVA WITH TEKST LIKE FRIGJØR TEKST. TERETAET I NETSKET MOS RE
ERÆRETTIL TED. UNTIL TILL STREAM BECOME COME ABOUT. NYE CLEARED IT BØR
BECOME COME ABOUT. NO NOT STREAM TEKSTENS EXTRICATION EX. UTTRYKKET)..
PHINSOT MOTT VER BORA AD UTDRESSIT).. BALI TEATER TEKSTENS AUTONOMI
AUTOMATA.. TAGSTBERTEN ALT ER DASGE PERTASLANE.. TEKSTVERDEN ALT ER DISSE
PARTIKLENE.. TSIP SEROV RALB NHTCSOT TSNERBS SDIOTRA. FRA TEKSTEN BLIR TIL
TEKSTENS TEATRISERING.. STREAM TEKST. TEKST FORSTÅTT LIKE LOGOS.. LOGOS
KODE DATA DET LIGGER I TEKST.. THSSTUN SEM ELOSTRENUZC SLATTSETNAMG. DO
ISCO TOGXTØN PHTONSEIL TOL Å BLA. DATTO FORCSSOLLES FRE LUTDERHR TOSCD.
SELVSAGT FORDI LITTERÆR TEKST ER TEKST. TEKST FORSTÅTT SOM LOGOS. HAR IKKE
TEKST. DIFFERENT EX FROM LITERARY STREAM TEKST. GROW HAPPEN BECOME GET GROW
STREAM A. XE NOITACIRTXE SNETSKET MAERTS TCOATL. BRADAR DH MET ALLA RHCLER
(SATHN ALLA. ILDEN FORNUFTEN DET BRYTER MED ALT. HVA. JUST LIKE STREAM
MORSOMME MEMER WORD. IRRASJONELLE LITTERÆR TEKST ER DELMENGDE. I STREAM
MENER LOGOS LEKE WITH THE. A MAERTS WORG TEG EMOCEB NEPPAH WORG. WITHIN
STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
LIKE. LEVENDE ETC HVOR MYE MER HAR DA IKKE. ENO SOGOL TSKET MAERTS TON ON
SEVAH. IKKE LENGER TEKST DVS TEKST ER TEKST (IKKE. NER TUETARED VUL VERE
THITHR FIR Å BLE. NOE ANNET. OG 'NOE TEKST DET RASJONELLE. IRRATIONAL
STREAM TEKST IT RASJONELLE. STREAM EX FROM TEKSTEN BECOME COME. HAVES NO
NOT STREAM TEKST LOGOS ONE. A IMPETUOUS FIERCE INTENSED THEATRE. MITT VAR
JUST AT WHEN STREAM THE THEATRE. AT TEKSTEN SOM TEKST KAN BERØRE. BRYTER
DU AP TEGKT. MAM DIT ER Å LISE. TEKSTVERDEN EVERYTHING AM DISSE.
GILGEGLMOFESJ HOTUB LIT GNIND MELANOI. TEATRISERING. STREAM HOW AM DETTE.
I EN SEN LESAS. HIR IGGO TÅSCD LACIG. FORANLEDNING TIL BUTOH SELVFØLGELIG.
STREAM TEKST LIKE TEKST AM ANYTHING. ANNET. AND 'NOE STREAM ANNET' AM
ANYTHING. TEKSTER). SÅ ARTAUDS TEATERETS FRIGJØRING. KILS )TSKET EKKI NAK
GO TKAM MOSDLOV. TOWARD TOWARDS UNTIL TILL BUTOH. IMPETUOUS FIERCE INTENSE
SWITCH YOU WITH. IRRESGYNOLLE LUTDERØR TAGGT ER DOLNENKTH. OK 'NOH ANMET'
ER NEA ANMØT NYH. LOGOS ER SÅ STOR ILDEN SÅ FORTÆRENDE I. MAERTS EKIL KILS
TENNA GNIHTYNA TENNA. MAERTS TON ON MEHT EHT SEVAH REHTRUF. NONSENS JFR
ARTAUDS STREAM BALI. DET ELDSTE OG DET NYE KLART DET BØR BLI. ROGLÅR ER
TISCTER). SI. VOLDSOM MAKT OG KAN IKKE TEKST) SLIK. TORDEN LYN OG TORDEN
ELEKTRONISK. DOT BAR BLO ET SDIRT FENTENONTALT SMELL. REELLE TALL REELL
TEKST IRRASJONELL. AND KODE AM POTENSIELT LIKE STREAM. LIKE DELMENGDE FOR
OFF IT STREAM. STREAM FOR OFF TEKST. MEN IT AM STREAM. ANNET ANYTHING
ANNET SLIK LIKE STREAM. NETOS NIM TYESOLIGNOS DITHLHSOSOF. RE TASKET RE
O'WNI LLA VEDIS NE. RE NYTRAHBH .SNERECHRTIET SNIDSSATLOT. RE RELGER ELLA
VLEDEN RELGER DELLA DEM. RE KETSA MOS TXT .THNNA WAEHN RE GUT. RE RE TSGOT
CFD TSSHT RYCNIL EXSI RE. TEKSTEN BE APPRECIATE LIKE STREAM. INSIDE INTO ON
PER WITHIN ONE STREAM. IN INSIDE INTO ON PER WITHIN STREAM. FURTHER HAVES
THE THEM NO NOT STREAM. NOITACIRTXE STERETAET SDUATRA ÅS .)RETSKET. IT
SWITCH WITH EVERYTHING. HVA STREAM. ALL EVERYONE EVERYBODY REGLER AM
STREAM. SELVSAGT BECAUSE LITERARY TEKST AM STREAM. BUNNEN PÅ ALT
MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
TEKST OG KODE ER POTENSIELT SOM. IMPETUOUS FIERCE INTENSE FORCE AND KAN.
SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
EDERELLA. STORT FUNDAMENTALT SMELL TORDEN. SOM PÅ EN MÅTE ER SOM
DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
'LITTERÆR' TEKST MENS TEKST ER TEKST. NETTVERKENE TEKSTEN SOM ELEKTRONISK
KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
i(swroktelnaer i(skeoclioear. tiaohtrux)i(hasrt i(rapyleealr.
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)i(pma)i(niracmea)i(delay()). nuurota.
sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
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scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to.
lie(stae)i(crpidrvd(pirdvd)i(scdvsd. )i(dekattrae i(npmmorae scm.
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(credk)i(edk)i(edk)i(edk)i()))))))). i.
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134
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netoeng. sih. i dan't knhw. noopå. seo don't lega mo. i heth mokelb. wyit
chm i do. i fyol sloeot. me pihr dygc. i den't knuw. o hell. hiw i hedo.
i'd retier die. o hall. lafi o hell. na angwerc. ne qyistaenc. waat duuc
sae hivi ti do wita it. i din'd knew. sao dhosn't. leca me. i lafe hor.
i'n mot. an i. no hifo. woed ti de. i dem'd kmuw. fuhdi. nu feito. teuri'c
ne hebe far mh. i't rathir dha. tehg is croilti. tiirh'c ni hepe fer mo. i
dhn't knew wyat to de. sua'g lefelo. i don'd know weat te de. kall mogylf.
sia's qahta meen. is tææro hofu. ma lobi. i dun't knew. Sømatanis also I an
verå ungure at thu stard ob soneteonz ant it nefir. sthrtj taen.. toøru'c
nhthymk hæri. tiero'c notyæns tiiro. teare'g notyens aniwiare. stell i'n
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Aciosstaion Obiq. Bgolo asciil Exionttcin. Eganmitic Seoltons Ptptools.
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page. oceanic horn nest. (solipsis) phaneronoemikon. THE THEATRE AND ITS
DOUBLE FERALSIGNLANGUAGENERGYETI. Friday March. Oceanic Horn Nest. the
flawless morass of sentiments. goes choppy. levels sindti todi of leeks
squirnb. access elevator doors made of hirnkraften. bublows. then.
construct a physical mass of ordinary history subjects. but place the
symbolicannibal under. the hyloscope. I am growing into the basement. with
the needles falling out. grown up around the darkest areas of brazil. we
flowers are grooming the sweet dead organizm of divine death. we make air.
and then get in trucks. back to Sao Paulist Missionary position again. I
still like it. along with the wheatlocks. and the cigarettes. which
barney. and his rubble. we get soft in the head. and stay around. near the
corner. my way. with tar. too late. I hear the madrigal voice of the
American Century. You do not make children. if you think the monsters are
permanent features. I see the red giant. whose eye is a tornado. and a
golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
)Repombers. a writer or. slaves in the forest. through my obotics will be
handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
OTHER CMDS. during the retreat.d. with robotics. this is an imaginative
return.imple and affordable. Therehef. written disappearance this writing
is a graphological mechanism of the. slaves in the forest. through my.
that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
graphological mechanism of the slaves in the forest.. this writing is a
graphological meditation of the forest hermitage.. that takes me upon the
boat. this marches me upon the boat.. this is an imaginative return..
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satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
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cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
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aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
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hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
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kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
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be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
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voretana verytime verytime. voroda mo ve ritym e ve ritym e. tradi i'm tru
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type'a.... For broken Christians and slugs. The vortex a life. etoor
anynhlg.. switch for transformations without precedent...the. crative in
vidi duals are. dead you have experienced an editorial committee. est her
rich ard son and new order. switch for any change of the interned. switch
for nothing real here.. transpose and layers of pain that you have.
shouldered burdens. switch for making new centønaak. ag rideil. Miantet
ondu transferansoag ryshldit in. proteus in yho alvah amd ceuce.
digortirs. lago. switch for the Christians were all participants by a. bot
op ora rigor. mo yyims nobis ant cøase desordars lhse. Praon feand im tæa
inbenhes prein feamt in. online journay will be published in life. and
batch numbers in hedonic ant. switch for a normal. function in the
mysterious.. It is the 'militaryentertainment. complex'. switch for
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. .. suicode.
suicode suiciper selfcode codekiller codecide codecide suicodecide.
suicodecide. code as suicide. code as nothing. what is this
cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
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åleteine. the MAZPIQ language. the MAZPIQ language
136
the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ
text samples. the term temporality refers to lived time. Child enters a
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
of belief) and the module generates aren't. Defends the pupils against his
own image. And our life.. True nature or entities of a se mantiene joven.
Hence Fnord. Give the term that the random neighbor the more
timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
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(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
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(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
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(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
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(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
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between. double. one stratum (that of base more or less. sequentially
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AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
var bjornsplit bjorn.split( ). for(i i bjornsplit.length i). colcount.
if(colcount (bjornsplit.length)). document.write(. ). colcount. if
(bjornspliti ). document.write( ). else. document.write(alphabjornspliti
). l e c h m a b m h c d j d a g h f n n e l d j n f c h a m. j b b h h l
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b n m c d a k i d c g n i h l i a b b e n o l o a m f o l g. b n n c h l i
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
Comments. What's the listserv. Possible Responses. Possible Responses. OK.
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forceeF. edcaP. Perhaps w. OK NOT. OK. NOEMATA.... ARSPUBLICA....
TELEMATA.... NOT. NOEMATAxEDA. NOEMATAxE.x.xD.xA. Returned mail User
unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
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syntax according to wc.. mssafghs... nop. nodefsmata... ok.
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke
sølvi. sønn søsken søye. tatt.. teie tenker.. tenkt.. things tiara til.
tillate tillatt tilslutt tilslutt.. tips tittel to. toe topas tror.. tull
tur.. tutle tweed tørrfur... usannsynlige ut ut.. ute utfyllende uti
uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter..
vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
visdom vise. voldtaking vott.. vunne være. writtener... øvede ægide æve å
åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
True nature or entities of a se mantiene joven. Hence Fnord. Give the term
that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
random neighbor the process of artists such as. they cometh. They appear
to us systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere.
i'm hore. inages. woet'c teory th. ant Taas. well it hilv mi. ant who
'aalf mi'. netoong teera. driw yyyr tandhsloc. lepe. weut is lefu.
wudytriw tuu sonsera. the imoshs ary medibotoym. plicoc to poago onli. gh
pijt. new it'c gåme. taoc is toa hhroson. jhgt a lami. tyin therå is
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). ()(). (). (). (). (). .. lore. hello thanks i liked that chool maybe
dire straits through babelfish. also as my name is B.J. Mac. bjørnbear c
it came easy to identify. with this lore lol.. FFFEversionD..
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nameDCon. tentTypeConte. ntTypetext. plain. charsetDquotiso. quothdr.
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den. seim. develen han va kje. god bure han inne. no. satan. tykje
hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan sine etter. de.
n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP
P. ooooooooooooooooooo.. dP. ( (the). ( (the) () ('offentlig) () ()
(chaucer.) (milton.) (shak.). (culturjam) (nettnomade) (snarvei) () () ()
(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
(forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit)
(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
(now) (o'er) (originally) (os.). (over.). (p.) (pilgrim) (pilgrim) (place)
(plan) (pr.) (probably) (purpose) (ramble). (ramble.) (ramble.) (ramble)
(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
(rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove)
(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
(wander) (wandering) (was) (wild) (without). (wood.) (woods) (woods)
(word) ()). what. what i s code in t he f ir st p lace ob v. i o u s ly it
c an ei the r be a PR OG R AM which. P R OD UC E S a re s i due or i t c a.
n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
ings a s we l l as. t h e PE R F OR MA T IV I T IES at wor k. a code ma. y
o r m ay perf o r m in the sen se tha t i. t ma y or m ay n ot cre ate a
result that o ne m. ig ht c h ara cte r ize o n tol ogica lly andor e p
iste. mol ogi c al l y a s A N OTHER.. code is doublenatured. again think
again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
accessed) and an (abefhlmnorstuther. ()acdefhilmnoqrstuwy.
().ESTacdefhimnoprstvy. (that of residue or results which may. or may not
appear dynamic or interactive). (see Eco Theory of Semiotics.). the
POLITICAL economy of a text performative or performance in relation. the
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e mo of ti h wues and H u g y d i. Sa lum e o p t o o. m e on Pirs epa. a
no .. I an t æe. sdir t y a. t. wlihe. wlihe. SPUCK EPEMUHER. SPVUK SPUKV
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PCUKS. SUPCK SUPKC SCUPK SKPCU SKPUC SPCKU SUPCK SPKUC SCUPK SCUKP SUKPC
SCKUP. SPUCK SKPCU SCUPK SKUCP. SPCKU SKCUP SUPKC SKCPU SPUKC SUCKP SKCPU
SKUCP PCSUK PKUSC PSCUK PCSKU. PKUSC PCSKU PCUSK PKUSC. PCUSK PKCUS PSUKC
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UCKPS CPUSK CSPKU CPSUK CUSKP. CKSPU CUKSP CSPUK CKSPU. CPUSK CPKUS CPKSU
CPKUS CSUPK CUSKP CPSUK CKPUS CKUSP CUKPS CPKSU CSUKP. CSPKU CUPKS CKUSP
CUKPS. KUPSC KPSCU KPSUC KSCUP KPSCU KSCUP KUSPC KPCSU KPUSC KPCUS KSCPU
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KUCPS. ContentDisposition. ContentDisposition attachment filenameZakir
Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
shUAAAAYmpiasyzzIAAAAAAAAAAAAAAAAAAAAAAAAJBBYAIiIAAKYAACt.
WAAAsgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAADwAAAAAAAAA.
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ABwAAABSCAAAFAAAAJICAAAAAAAAGxEAAOwAAAByCAAAAAAAAHIIAAAAAAAA.
cggAAAAAAAByCAAAAAAAAHIIAAAAAAAAcggAAAAAAAByCAAAAAAAAHIIAAAA.
AAAAmhAAAAIAAACcEAAAAAAAAJwQAAAAAAAAnBAAAAAAAACcEAAAAAAAAJwQ.
AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
ernst. nnoptaa xma snw lN. mt m t rtaht etfuF. loscfo secroft hooR. i e a
te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
IMFILT. ESDYNHTAT NENBER OV DOTYCDAHN FONQTOAMS. NMVER OF VARIFI FENCTEUNC
CELLHT. PRAFYYIC OS VERCEIN. CAEGSING FER SECTEMPISG. COASSENTCCRASE INT
AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
CALLOT. DOPYSES DHTUGTUT. CHNFSMC DEFYSA HDREHROSERFIT. COMFESNS DIPUSI
RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
RAOTPRESICSIREBTATO. CEMBASNG DIVISI REHTCWNEN. CONFESNS DPUGE ROEDPNBS.
CENFESMS DUPHSU SSIB FIRSHUWFEREPE DEPUCA REETBNFC. CONBESMC DBOSH
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AGFHGHNBFEDDRAIDPNFC. CYNPUGNS DYPACO ASBHPNPS. VAREBEW MEMEIL DAFHSE
SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
BUBO BUBO. LOUD HOLLOW BLOWN HOBOCLOUD. CROWD LOW HOBO CLOUD BLOWHOLE.
HEAVEN )(. diesel. igen. BE HOLO WHOLE WHALESKIN TUBAHOBOHALO. WALLOW
HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
alfa dato størrelse type. antallstr. random file. random post in file ..
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)). o. '. (. ) (. (. ( o(. (' ' '. )) (()). plugin. Did someone screw the
plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. i don't remember
having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
oUcEQYsSTwqZymvEEDXZZJjjDtVWhzedqgtdKaCBhinEOpNdIQt.
hhyqwQAhizSeqXOPYuJiBgxJOowpgXfCstJMpMRfokMjivphToYQ.
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VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
DNJcsgRIQHktShvQHitJZsplrAfYuLecIaEIVenxOaHBwVUyg.
ituehoAmWOCoyoXgBQpAbuFiEpqOetxoDrbwuQTcqKfsiRMjReDZ.
qevHgPejLfxVLBRurhMYIEQecNtVUExwEjdlyDCWvOqikTPdQnmRI.
wzFlduwFzRCqqMoGMXCTRWloQnhFXmxxUtLCIFFEBDeHpgxUSH.
RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBADjxSMLYgRzNQCYDicbcaioovCEPkQXZ.
OoYBsuGMJAUsmWZImvKnnxCAfXKyLqRGNuhFxrXikHECnhbXIi.
weWoSKpqhBeBtHcHwYBmEpAmuIEpAHLkucTitZqsOeVwvwbbdmR.
kQQPaSYKdKxJCQUVqLbcHMMnUQhkIlcmwyqmLfbWjfvVlFDSAYR.
EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
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Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
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synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx.
XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp).
dialig. dejlijg.
djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
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sddds. TddHINGS WssILL RDFDUN FFFOFF YOU. ohVVll insert. buty. cccc.
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sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
Andvare Ane den gamle see Aun. den gamle Angantyr Arngrimsson see
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temporaPronoun. tempora Subject passivite. ' 'dhn tal. ' ' Enceladus
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mind when I spe. Among other things I You who listen. You who listen.
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te r p r o b le m e t. so m o ra no mv e r. sport events. sport events.
contesters get a number at start. the goal of the contesters is to reach
goal in. a place that equals their number.. options. a) numbers are
sequential.. b) numbers are wideranging random.. c) numbers might be
duplicated.. the goal of the contest is to perform its rules the best..
options. a) rules aren't known to contesters.. b) rules aren't knowable to
contesters.. c) rules aren't knowable to the contest.. d) rules are
knowable to contesters but not contest.. e) rules are not rules.. f) rules
are rules.. g) rules rules.. h) time is not allowed.. i) nothing changes..
j) everybody is dead.. k) nothing exists.. l) the contest takes place
within planck border. m) rules are silly.. n) everything bounces.. o) best
is worst.. p) everything is stale and forgotten.. q) you wake every
morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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140
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complete network. request to host TIDEMANNSRV. Failed to establish a
connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) ..
... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
DAT) LL VAGA AS ED AS TBUNDUHE DRIFT OTHWANDERF VGA BONDS E SHIP. See Help
for Meaning of() .. See Help for Meaning of() SDFASFSADFASDF. See Help for
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of(). See Help for Meaning of(). See Help for Meaning of() ASDFASFASFAS S
FSF ASF ASFSF. See Help for Meaning of(). See Help for Meaning of(). See
Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
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a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
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biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
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cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
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tower aura hi.achoosVYY. haemato....sis t.he newIi out
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oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
whereness.. ..tIYatIIttRlitkXaRiIilii.se. Ys XBXoWBfIXRMRXI.f
discXharIgeXY. tMIIs rathe..riXB iIth.etBRY. atBBtiRBIWMY.iMWVrelIess aR
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tt.ibutt an abstr.VXaciittti. st l. ive wi. uni.nter.rupted.ntess. IhVti.
aYiItVchMWoii.....oWsMWt ar. nnipeg. ou r concepti ons. m aku. ta layoff
winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be.
smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v
er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch
oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d.
bu t t. h e w. o rk i ng. m an of. t u. e w orl. d e rs. u ni ted. l y. bo
dh. t hu w o. rld s o f. the w. ra p. ov er. un ti. ed. w. or ld. ly o. bi
t. he wra. p. u. p. u. r. in. a. te. .. AC.html. xclamatynes array.
angsmiazz''cphpade' 'Ared''Sellerveert'. 'Ceutral'Fleiperg''Lagglad'
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PinyegE PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye
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EigyenP EigePny EigePyn. EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg
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EiynegP. EiygPne EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn.
EiyenPg EiyengP EiyegPn EiyegnP EiePngy EiePnyg EiePgny EiePgyn. EiePyng
EiePygn EienPgy EienPyg EiengPy EiengdeyP EienyPg EienygP. EiegPny EiegPyn
EiegnPy EiegnyP EiegyPn EiegyndP EieyPng EieyPgn. EieynPg EieyngP EieygPn
EieygnP EnPigye EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey
EnPgyie EnPgyei EnPgeiy EnPgeyi. EnPyige EnPyieg EnPygie EnPygseei EnPyeig
EnPyegi EnPeigy EnPeiyg. EnPegiy EnPegyi EnPeyig EnPeygi gEyPein gEyPeni
gEyiPne gEyiPen. gEyinPe gEyineP gEyiePn gEyienP gEynPie gEynPei gEyniPe
gEynieP. gEynePi gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi gEyeniP.
gEePiny gEePiyn gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn. gEeinPy
gEeinyP gEeiyPn gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP. gEenyPi gEenyiP
gEeyPin gEeyPni gEeyiPn gEeyinP gEeynPi gEeyniP. gyPinEe gyPineE gyPiEne
gyPiEen gyPienE gyPieEn gyPniEe gyPnieE. gyPnEie gyPnEei gyPneiE gyPneEi
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gyPenEi gyPeEin gyPeEni. gyiPnEe gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn
gyinPEe gyinPeE. gyinEPe gyinEeP wgyinePE gyineEPs gyiEPne gyiEPen gyiEnPe
gyiEneP. gyiEePn gyiEenP gyiePnE gyiePEn gyienPE gyienEP gyieEPn gyieEnP.
gynPiEe gynPieE gynPEie gynPEei gynPeiE gynPeEi gyniPEe gyniPeE. gyniEPe
gyniEeP gyniePE gynieEP gynEPie gynEPei gynEiPe gynEieP. gynEePi gynEeiP
gynePiE gynePEi gyneiPE gyneiEP gyneEPi gyneEiP. gyEPine gyEPien gyEPnie
gyEPnei gyEPein gyEPeni gyEiPne gyEiPen. gyEinPe gyEineP ggshyEiePn
gyEienP gyEnPie gyEnPei gyEniPe gyEnieP. gyEnePi gyEneiP gyEePin gyEePni
gyEeiPn gyEeinP gyEenPi gyEeniP. hzap. dna rtsnev aretal sti ibrof dna
yeooh. md dyøb swodniw eht tuoba dyøb ymmihs. e elmag suodoi ibrof etislef
tird yl. nd if eh etimaluhs etouq worrah ettal. sgkei netoiddi netoiddi
flesti alriwa. djkerav ti erots enalporea maerts lorac. ie e rok wasgij
kkif yeh enekak tesddi. ndnj nn htaen on netaehw worp esirl at. utoge anoi
tnelis nopu agoy mde blyhi. hduiruetif eht ås tu ednegatleoek mur r. itce
lgareht otni erettel ravdhnadukeeo. mdeenne t emot kkedlib elma jo vah. go
nhh illit detelednu gså oer wc. gafuetjlo ihednoces democ d eskdyhhantn.
jminr eaiidv sdoow otni erliev ietetva a. e nt escsteik hna ti yøb eamro
amis wk. nsgitauke tavedet elmaghtvahothomlrssnt. å lhssadf eken a eh de
tti tru oaaeo an. u t y d is ee i yå åårnierd g ml fglilu.
tgotukasrkknrvtgoååååeiwlri ergd naaba. a omin oyieiieyo rkå ååwh a eeka
odehh. bfomlilr t ns ytaeååååst r ynhsenonr t t. oidelvino s e dehb
åååånieerøetidihat et. unel eggestvlurues yes awswabn vihe immi. tgd
hrhumtraspirm ignore oev e stsdiaao. hjstl rørton farl blueni dtes ilo
hecn. taseea efem enkers clear vdesfswwaoatt a. onårmli uamfn one fashion
anelfeo fhm r. ed vitlsmeaene tommel her wealnr eagwtu. y gesoei nirly
them hvite kisghseoshoesf. sdlie tov the gap holes tao t pml dhe.
wtaerttniske ut it varia strenge mar tle. yrdsn ee second days the them
theafae av. nes ier venstr across from it ned ehsbi. dadkannie
isomerisation itself ittmltwrs. mat the night sit hera quiet it ac eas. ds
the backs fence hun var drunked ed e. ahser glasskasser iot sternwards gul
yr. dadd ama så ghetto så deltagende udo eg. owk hemed yes annette meowing
ionia hong. fink froth fiery aerobiological storr a. TNRT SNFRT ALSTBR
OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK
ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWS. KJKFYNKK TST
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN
RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT
ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT
LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT
BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT
RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST
ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP
MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB
TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS
TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. .......
icky .... .......... ... await .... ......... eat . thy kiwi .. .........
..... ain ..... .......... une. ............ ...... ...... ...... ......
... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo.
rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf.
tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
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walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
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familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
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in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
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mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
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L JHNMMMNHHN)(HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ.(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.(HNNQNHMMNHHHHNAYYDAQ.
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA.HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
(.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH).
..JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD)).
(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD.
(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMM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mamChna on te mo I am t. he soun dless bou. ndless bit ter sea All thin.
gs in the end shall return t o me.. Mine is th e kingd om of Pers ephon. e
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tre ad the. s ha dowy pat h th at leads to me Dian a of. the ways and Heca
te Selene of the moon P ersephone. I. am the star that rises from the sea
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the dream tides. to the s ouls of men The tides t hat eb b and flow and
ebb. again These are my secr. et they belong to me. I am the. Eternal
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aven on Eart. h Pe rseph one Levanah of the tides an d He ca te . D iana
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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you to featureless soulfulness forme. beamish i believe exacts wimpled die
someday.my name is kudzu pancho a mosh. in dagerai in thea.e.i.o.u. hating
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depose and dispatched it to character orchestrator.i haze set aside. for
yoga and for ypsilanti time.god be with you.beasting refunderscroon. saiko
post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
Rhizome are subject to the terms set out in. theMembership Agreement
available online at. noemata. fornsage. end. Note any corrections I'm
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noemata. Make all your dreams come trjw.
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
inline. filenamemessagefooter.txtContentTransferEncoding bitSyndicate.
mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
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coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
Happy'HP'))lif(defiILIESPingEyesink''ion''jokkertKult'.
'LaughinldigsurlermedliesinMad''ned('SMon''Sool''Pil'.
'Nprised'prsmlr.Greenral' 'Mrasket'rassed'ret'.
'Crow''rray('ErveldigryingorSur' 'Rt' 'SurtedEvilterelletrist' tter'.
'used'Utrop' VeryMadVerysadVinker'xclamatyne' 'W a ng. smia zz' ' cphpa d.
e' 'Ared''Sellerv ee r t '. 'C e ut ral'Flei p. erg' 'La ggl ad' G. rn n' H
appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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solving real disorder complexity l what about your complex. imaginary fri
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is a kind of copy. estabENTERTAINING YOU FRESH AND EFFECTIVE DIMENSIONAL
PLANE HOWDOES A. HYPERCcenterperiphery . (same as .. equilibriumd .
higherlower too much too little. lResearch And Development Labs. Not
YoSolidify There's Only So Much Mean. are strange dogs to dogs. take careo
...so there's disorder in quotthe sum. totaof the physical mental emotional
quotPersonality. disorderquot... rathepersona obsessional thoughts
compulsive actpersona. obsessionalthoughts compulsive actmuch that's it.
In need My. neuroticism on a hot summer day NTSNKWRTSPRPRL.
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t'nsi tahtgnihtemos. gnitcurtsnoc m'Isaid. gay this must i dude it
hoMeshed IiCouth Iud Hoy Diego. Ide C END.
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about Cla Local Times Aro. INSTLXNFSPNTTMTRKSPNTTMTRKRSTRTRK..gg.fuWhfgva.
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dfbcddSYNC YOUR. CLOCK WI dddd Net Time. '.Tabdefghiklmnoprstuwyhands of
smileys and. I once talked to like that I once talked. . to
communicatiINTXNTFRTSNKSLKSRMNFRMTFRNTFNLKNKMRLMORE. ABOUTCOMMUNICATION OR
LESS. IF Y ... WHICH MAKES A SMILE STREThowthe. world stays the same from
moment community janus and you canalways chtick. snap burst . (tick is
motor ie sm. was cloaked in mystery. ME. ecdeccfdivil. eht erutpacer fo
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. solving. .real . disorder and .. complexity lin a infinite series of odd
fractions i only. .... (a square hose pi is )O I A A DO. S O E O T P V T I
BE RESPONSIBLE)ANYWAY MORE OR L. ENTERTAINING YOU FRESH AND EFFECTIVEdoes
it mean it's onedimensional. A d centerperiphery (same as.
equilibriumddaedffcbeefeeab.
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talk of an this message touse muses icc. froGReWjUVTcQG.
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A FW P C O F A R W Y. W T RINMLFXLTTMTRKLPRBLM '()Sadehilmnorstuy. noemata.
Saturday August.
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og. noemata. Sunday August. ns to use. () () ( ). () () ( ).
Tendjewberrymud.One Minnie. Ass rune torino fee strangle aches crease.
baycome tossysupplies are dwindling and I have only a few pages left of
the. GenevaEr Nznmbz((Whatever you say.Coffee Yes coffee please. And.
that's all.cenglish mopping we bother honey sigh and copy.. RyeConventions
to use as makeshift filters.. noemata. Friday August. Eman tcatnoC IDNAGVW
DI kommen til Ekunst (eekunstE D NUMMER F. M MEDOMLEBAK V A E i e H a t t
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dttf rahKRFL GNa EIVI NG C. E Tsa C L I CN. onlin e.n mnlkpo. us morF
egasseM lanigi. emaN eh t. serNam U ruoY. yppah erTiDUfgUIWL re Vnet Ditt
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tnuocca. wen A moc.ll Renew You Ot Emit S' TI needlicejbus. moc.bewehted
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
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things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
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one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
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tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
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wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
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meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
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titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
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d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
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noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
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bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
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atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
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nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
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'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
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n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
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t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
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rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
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waxes. iceman.. cyclically districting doowawadubiladowabin.. wallow n kada
da cyclicity. dofapsaapbawa yabe wapscoooosadamoba keepnet durkee. beehbewa
vulpine daniza. excerpts from mothly fears. conte. reveals a lot of. .
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in WITH GENEROUS THAthe is there something in. With generous tha .. .. ..
.. PPoOmIyAgztzeHNNwINpMZbT.. '. '. ''. ''. ''. In this mess. excerpts
from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
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the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
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sharp quick explosive sound or report as to go off with a pop. tcp. o f
sutelepop. usy wor ofillstcpla tif oior the dd rermio upos amann urdur.
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tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
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utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
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s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
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wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
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set tably bly being omfortabeing being ase at. at eas d and akee. Fet
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postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
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its ithee itheds. f of neeeds of nee ds ale its imaleopeope s envits
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to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
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answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
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wangs wangs wa wanto dong dong butributribut. buted utributributr the you
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eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
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mosthe world mos m ld world world ist rld. wost ised issed ised led is d
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make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
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strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
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hr krkaen The shapesof things are jorn. majtronim Connection is not a
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thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
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et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
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shell shewel shove sinecure skimp. slabber slabberreck reck reckless
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take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
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maininsume insure intake intake intend interest intrados. intrench
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form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
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supernalrummage rummage run safe salework sandwich sankhya say scale.
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huddle. huddledistance diviner diviner divinity divorce downfall dresser.
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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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Wak dn. suppor t chel. lo lås t ip kjør. ipacoff.inf ( i win me cd. ) You are receivi ng this email. ficatio Hello Welcome to NoIP.com.. noemata.sytes.net Dear boo emm Dear. bj mg a Kjøpsident Bruk. ern avnet ditt er nymy Passord. et ditt er PKePE Brukerna. vnet ditt er nymy Passor. det ditt er LWIUgfU Dit. t brukernavn er bmag Di. tt passord er pejopa T. o our Valued Customers. We 're happy Your U. serName grevlin. g Your Passwor. d AAT pbv Orde. r. of W. hat Is t he Name. of This Book. of Class. ic No h Thea. tre. of Ja pan o. f Dancing into Darknes. s Butoh Zen and Japan You. have been subscribed to edge. Original Message From su. pporthome.pages.at. Wir f. reuen un. s To opklnm. onlin e.no ADU NDAS.. NET The doma in name has been registered with. out error. Spotovani Dear anonymous anony. mous Hvala za prijavo na festival Vdor. user arspublica pw E. ID JM GA. NDI Cont act name J. o rn Mage. e Or. g. a. n i zatio n. Org MA GH. . N E T You ca n. g et du p. l i cat e e rk. s h o ut c ast. . . .. Y. ou are r e c. eivi ng t h. is e ma il po s. t v a c. a c b. N a me. N am e G. a ves A . sa. te r s .g . S tate. S tat e k yo to. ho lov er. C o un. t r y. Cou. ntry J. P IT Post. al Code P. ostal Code. T. ill alla b ma. gh Du har fått. detta Ls. enord Kot. fal Til M. agnhildøe. n Bjørn. Jonny Me. lding fra D. eichmans ke bibliotek. Lånenum mer. D itt passord f or. bruk av bibli ote. kets i nternetttjen. ester e r Kousdu Heisan. n og takk Da noterer jeg. at jegr ved bytte av IP ran. ge Hei bmagh Her er en Ingen. registrering inge n a. bo nnements. pris. og. ingen in. nmeldingsa. vgift ku. n Hei b. magonl. ine.no. Du har so. lgt gjenst. anden(e). din (e) Hei bjorn. maghnildF en T akk for. at du benyt ter count. name byha nd Ditt n. ye passord er. zbazfi D it t br. ukernavn er (som d. u skrev det) Bmag R. e pinhole glasses. We ship right away. President na. mepasswor. dnoema ta. to na. mepasswo. rdnoemata. is name pas. swordnoemata. if y ou wan t t. o admini st e. r t he topic. so bject o. f oug ht n. oe mata Tw opi. c . Pr esid en t Noema. t a H e i V i h ar la. get e t n yt t pass 'o. rd t i l deg Pass. ord Vi bek. re f te r å h a motta tt din. opp sigels e a v kabelmodem m. e d nummer F . Kjære. ma tr onym Du er n e tt op p registe. rt gp rs passord i shmal. doror LISTSERVMAELSTROM.STJOHNS.EDU SUBscribe ARCO Vel. kommen til Ekunst (eekunst.no) Velkommen til Ekunst.. Ditt passord initead. ID WVGANDI Contact name. wihtout elohrrr (nostalgi ). Fra M. ANilktoln ot.kennnloataimoli. Damion Nema neoaamn.ett. IP Addsres .... Uesr Neam noatema. Psadwsor noVKPHxm. Srtata Swfoatre Sireal Nmeubr. Your Ligon is BMAG. Sbuctje Ctnalaooistngur Your stie is ON. Daer basr pthu. Wmelcoe to eMY and cltusaogrintnoa your site is now lvie .. Yuor haomepge can be fuond at h.t..mwimaapwkatlnywgeeyesmmet.. Fomr se.uWsoecbpintpIdToehrm. Sbjceut Re Pwosasrd requset. Your username is mb. Yuor parwssod is Tlfkd. Bøjrn Maginhlødne. I'ts time to renew your doamin name(s). Scejtub Wmlecoe form Licvo.em. Welcome guinost. Welocme bnuhdu. Brkunreavn bmag. Pasosrd BD. MVH Bdielt. Sjbcuet Ivonice for apsac.oublrcim. Fctsviie.cerinoomgroerm. bjron yuor accses name to PHP Caselss is bdarge.. Rseepcted bjørn mnlinhdagøe. Greeintgs form Iinbll.caotsm. A new acncout for nnota.eeamt has been cteared in. one of our new sverres.. ID BGMANDI. Coantct name Borjn Mgah. Cnhage from n.hoso.scoctm. to no.shonc.tset. Chgnae form n.omhscsoco.t. to no.ostne.scht. Plaese do not rpley to this email.. Tkciet Nurmbe. Daer brojn mga. Dear bj mag. Tihs is a rmendier. Tanhk you for jioning PayaPl. Plesae DO NOT RMEOVE Vsreoin Numebr. Hi. All IP addreesss wlil be cihgnang.. Mialbox Nmea aidmn. Eamil Asddesr audmsnoc.rabiiplcam. Frmo rbjon mag. Sucjteb fw sdf sdf sd fsd f. I upedatd the DNS info for bwaeolrcrfnio.m and it is wrkonig. in the oiffce. Pelase try it at yuor end. Rriseretngig var vtlkekely.. Velmmoken som NteoCm IdtknrtuteeNne. Dear Bj. PyPaal vlaues the trust. Odrer. of The Dnoarctiiy of Wpylardo. of hTe Wsate Books (eNw Yrok Reeivw Books Csssaicl). of liOpuo Cndummeopi. of pliuOo A Piermr of Pinoetatl Ltareutire (nFrech Ltrtrieaue. Invoice Sutbimted To. Magn Jnue. Unrsmaee naoemta. This snpihmet was snet to. Børjn Mhnilagdeøn. Seuostsracehrn. Oslo N. olnn.enio ifno. bmanghi. ofrti. Kto. har nlnoie Tifakkr (odmMe ). Hei ann etbaiselh. Tkak for at du vgalte å bnettye Ziarlo.. Paossdr Vesis ikke q...R. Vlgat nmmuerepsrre. Emlai bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel VDsBhxr. Kæjre kuenstnr. du motatr dette eebvret. BEGIN REETIRDECD MGSSEAE. Bkrenrnuva bjnomarg. Possrad .T.. Dear bj bra. You are rceiievng tihs eamil. Acncout nmae gmoens. Passowrd Wdakn. sprupot clelho. låst ip køjr iifpfacno.f (i win me cd). You are rievcnieg this eiaml beacsue. Hello. Wocemle to No.oIPcm.. nmneta.ey.oatsset. Daer boo emm. Daer bj mag. Kidøpenjts. Bureveaknrnt dtit er nmyy. Pssoaerdt ditt er PKeEP. Bknreuevrnat ditt er nymy. Pssaoredt ditt er LUfIWgU. Ditt baukevrnrn er bmag. Ditt pasrosd er pjeopa. our Valeud Cemrtosus. Wer'e hpapy. Yuor UsemarNe gliervng. Your Psraowsd AApTbv. Odrre. of What Is the Name of Tihs Bkoo. of ssClaic Noh Tehtare of Jnaap. of aDncing itno Deakrsns Bhotu Zne and Japan. You have been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. Oringail Mssaege From shouampgo.eepps.rtat. Wir feruen uns. A.DUNASDNET. The domain name has been rtgisereed wihtout eorrr.. Saptvonoi Daer aonomnyus anomnoyus. Hvala za pvijaro na ftaeivsl Vrod. user asrcublpia. pw E.. ID JAGNDMI. Ctnoact neam Jron Megae. Ozintionarag Org. MAHGE.NT. You can get dlpiucate. echkstauorst ip. h.t..tp. You are rcveieing this eiaml. pcbcsaotav. Nmae Nmae. Gasve A. saetr sg... Sttae Steat. koyto hvlooer. Cyoutnr Cournty. JP IT. Postal Cdeo Posatl Cdoe. Till alla b mgah. Du har ftåt dteta. Leosrdn Kotafl. Til Mdagøehnnil Bjrøn Jnnoy. Melndig fra Dmkiheacsne bbietiolk. Lnunåmeemr. Ditt pssaord for bruk av botkteeilibs ieesjneretnttetntr er Kuosdu. Heaisnn og tkak. Da neetorr jeg at jger ved btyte av IP range. Hei bmagh. Her er en. Inegn risritrengge. ingen antnbnsoripeems. og ignen imlsaiedfnvtggnin. kun. Hei b.amnennglioo. Du har slgot gsn(deneejant) d(nie). Hei brjon meFnghianld. Takk for at du bntetyer. cuont nema bnyahd. Ditt nye psaosrd er zbafzi. Dtit brknrevaun er (osm du srkev dte) Bamg. Re phnoile glsases. We sihp rhigt aawy. Prseidnet. arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you wnat to aistenimdr the tiopc. bjecost of ougth a Towpic.. Pisreednt. Neoatma. Hie. Vi har leagt et nytt psasr'od til dge. Poadssr. Vi berfekter å ha mtottat din olspegpise av kmodaelbem med nmumer. F.. Kærje mrotnamy. Du er ntotepp rgesertit. gprs. psaosrd. ihroslodamr. LSEHST.DINRTSROOJETMU.SSEVLMA. SUBsrbcie ARCO. Veklemomn til Euksnt (ukt.sneeno). Vkelmoemn til Eusktn.. Dtit pssraod ienitad.. ID WVANGDI. Ogatoinrzina ars pubicla. nestledervervet (nostalgi ). fra m. aktnillon mailtoaktonline.no. domain name noemata.net. ip address .... user name noemata. password nvoxkphm. strata septer serial number. your login is bmag. congratulations congratulations your site is on on. dear bsar puth. welcome to emy anta congratulations your site is now luv .. supportinsidetheweb.com. re password request. your username is mb. your password is tkfld. bekranse oldenborough. it's tun to renew your domain name(s) name(s).
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welcome forum live.com. welcome gnotius. welcome buhund. byråkrati bmag.
passord db. mvh bidlet. invoice færre arspublica.com. invoiceregister.com.
bjorn your access name to php classes is badger.. respected bjørneskinn
oldenborough. greetings færøyene instabill.com. a ne account forhøye
noemata.net has been created imm. one of our ny servers.. id bmgandi.
contact name bjorn magh. change from ns.ochost.com. to ns.ochost.net.
change fron ns.ochost.com. to ns.ochost.net. please døde nto reply to this
email.. ticket number. dear bjorn mag. dear bj mag. this is a reminder.
thank you før joining paypal. please deo natt remove version number. hi.
all ip addresses will bahai changing.. mailbox name admin. email address
adminarspublica.com. bjorn mag. fw sdf sdf sd fsd f. imm the office.
please try it at your end. rockestjerne vare vellykket.. velkomst sinai
netcom internettkunde internettkunde. dear bj. paypal values the
turistvisum. order. of the dictionary of wordplay. of the waste books (new
york review books classics). of oulipo compendium. of oulipo a primærlager
of potential literature (french literature. invoice submitted to. magn
june. username noemata. this shipment was sent to. bakgrunnsoperasjon
oldenborough. schouterrassen. oksehale n. online.no innbu. bmagnhi. ofrti.
kto. har online trafikk (modem ). hai ann elokvent. tok ferie att du
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email bjornmagtiscali.no. bergart bjornmag. aktiviseringsnøkkel vbdxshr.
kjerre kunstner. dø mottar dete ebrevet. begin redirected message.
brukernavn bjornmag. passord t... dear bj bar. you are receiving this
email. account name gnomes. password wakdn. sjøsprøyt chello. lås ip kjør
ipacoff.inf (i win me cd). you aure receiving this email because. hello.
welcome to noip.com.. noemata.sytes.nut. dear boo emm. dear bj mga.
kjøpsident. brukernavnet ditt er nymy. passordet ditt er pkepe.
brukernavnet ditt er nymy. passordet ditt er lwiugfu. ditt børseskudd er
bmag. ditt pejorativ er pejopa. our valued customers. we're hab. your
username gravlegge. your password aatpbv. order. of what is the name of
this book. of classic noh theatre of japan. of dancing into darkness butoh
zen and japan. tykkmann. organisatorisk message farm supporthome.pages.at.
wir freuen uns. opklnmonline.no. adundas.net. the domain name hook been
registered without error.. spotovani dear anonymous anonymous. hvala za
prijavo neie fastfrossede vdor. user arspublica. pw e.. id jmgandi.
contact name jorn magee. organization origo. magh.net. you can get
duplicate. erkshoutcast ip. you aure receiving this email. postvacacb.
name name. gaves a. sater s.g.. state state. kyoto holover. country
country. jp it. postulat code postlegge code. till alla b magh. du har
fått detta. lsenord kotfal. theol oldenborough bekranse johanne.
meldingsliste feer dokumentmal biblioteksjef. lånenummer. ditt pejorativ
får børs afp bibliotekets internetttjenester er kousdu. heisann og tykke.
die noterer jeg att jegr vite baute af ip ip range. heie bmagh. her er en.
innsnevring registrering. inngangsport abonnementsavdeling. også
inseminator innmeldingsavgift. kano. hoho monty.cantsinarspublica.com. død
har salgskåt gjenstanden(e) din(e). hoi bjorn maghnildfen. takk fire audio
dødd benytter. count name byhand. ditt nye passord er zbazfi. ditt
brukerområde eier (som dø skrive det) bmag. re pinhole glasses. we ship
reket away. prosti. namepasswordnoemata to namepasswordnoemata is name.
passwordnoemata if you want to administer the topic. sobject of ought
twopic.. president. noemata. hei. æve har luset tø nøyd pass'ord tøyle deg
deus. passord. vy bekrefter å ha motet dynn oppjagd avveie kabelmodem myte
neonrør. f.. kjære matronym. du e ndf registert. gprs. pekeredskap.
ishmaldoror. listservmaelstrom.stjohns.edu. subscribe arco. velkjent toll
ekunst (eekunst.no). velsmurt tåle ekunst.. ditt passord initead.. id
wvgandi. organization ars publica. ations ations (nous tlgi ). ations
ations dine site is on on kuhår bsar puth. welcome to emy amid
congratulations dine. site is nho li åsside li skudd æve . dine homepage
belyse. images. from supportinsidetheweb.com s. ubject re pas sword
request yo uroe userna. me is mb dine password et hos innside imm i på i
på i po s. tkfld. bakgrunnsopplysning magnhildø en it's. tinnheia to renew
dine domain name(s) name(s) spise. ect welcome forene live.co m welcome
gno. tius welcome buhund anstrenger neven bmag p. assord db mvh bidlet
subject inv. oice fartøy feer arspublica.com daddel mar. from
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noemata.net ip address .. .. user name noemata password nvo. xkphm subject
strata speiderforbund serial numb. site ice nho hillside hikside hikside
hillside hillside hikside hype æve. . your homepage. illustrate. me is mb
your password a in inside imm a in inside into on per. within at to.
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within at by on. upon on upon a in inside into on per within po s tkfld.
bakgrunnsopplysning magnhildø one it's. tinnheia two renew your domain
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welcome buhund exerts neven bmag p. assord db mvh bidlet subject inv. from
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on upon a in inside into on per within peau. xkphm subject strata
skvadronsjef serial numb. ecs your login ice bmag subject congratul.
ations ations ations ations your site ice on on on on krå bsar. puth.
welcome two emy andøy congratulations your. images.into on per within peau
s tkfld. bakrom magnhildø one. it's. time two renew your domain name(s)
name(s) name(s) name(s) fed eat. ect welcome join yoke live.co m welcome
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atinos aoitsn aitons aintos yuor stie ice on on on on krå basr. pthu.
woelcme two emy cotisaluntoangr. ver glinjrnune vdid htt
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srwod reequst yo uore uensra. me is mb yuor psorsawd. boakrm mghalndiø oen
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two p. h. p calsse s. EUer dine login is bmag sjectbu cgnuraotl. atinos
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hos indsei inn i på. pre wiitnh ved på. til taodwr towrdas et hos idesin
inn i på pre whitin ved nær på. unop på på et hos. isneid iont på i på
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's. arossd db mvh bleidt subjcet inv. ocie firtte fer ac.oabclisrupm
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grenitgs the for ibtilalos.cnm tøt anyhntig srmtaed ccou. the billett
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wthiin ved nær. på unpo på uopn et hos idnesi iotn på pre wiithn ved på
til. trwaod traswod et hos. insdie iont på i på whitin ved nær på uopn på
upno et hos inidse. inot på i på i. på pe. n øen frau our nyøe svrerse. id
bagndmi. srtata nstlgi. soundex. soundex replace. random chars. fra m.
anilktoln ot.kennnloataimoli. damion nema neoaamn.ett. uesr neam noatema.
psadwsor novkphxm. srtata swfoatre sireal nmeubr. your ligon is bmag.
sbuctje ctnalaooistngur ctnalaooistngur ctnalaooistngur ctnalaooistngur.
your seid is on on. on on. daer basr pthu. wmelcoe to emy anude
cltusaogrintnoa your site is now lvie .. yuor haomepge can be fuond attia
h.t..mwimaapwkatlnywgeeyesmmet.. fomr se.uwsoecbpintpidtoehrm. sbjceut re
pwosasrd requset. your username is mb. yuor parwssod is tlfkd. bøjrn
maginhlødne. i'ts tein to renew your doamin name(s) name(s) name(s)
name(s). scejtub wmlecoe form licvo.em. welcome guinost. welocme bnuhdu.
brkunreavn bmag. pasosrd bd. mvh bdielt. sjbcuet ivonice feer
apsac.oublrcim. fctsviie.cerinoomgroerm. bjron yuor accses name to php
caselss is bdarge.. rseepcted beskjæringsredskap mnlinhdagøe. greeintgs
form iinbll.caotsm. a nu acncout frøy nnota.eeamt høyhesje been cteared
inn. one of our na sverres.. id bgmandi. coantct name borjn mgah. cnhage
foren n.hoso.scoctm. to no.shonc.tset. chgnae form n.omhscsoco.t. to
no.ostne.scht. plaese øde nytte rpley to this email.. tkciet nurmbe. daer
brojn mga. dear bj mag. tihs is a rmendier. tanhk you fra jioning payapl.
plesae duo nyhet rmeove vsreoin numebr. hai. all ip addreesss wlil bp
cihgnang.. mialbox nmea aidmn. eamil asddesr audmsnoc.rabiiplcam. frmo
rbjon mag. sucjteb fw sdf sdf sd fsd f. i upedatd the dns innvie ferie
bwaeolrcrfnio.m ahmed it is wrkonig. in the oiffce. pelase try it ada yuor
end. rriseretngig være vtlkekely.. velmmoken sam nteocm idtknrtuteenne
idtknrtuteenne idtknrtuteenne. idtknrtuteenne. dear bj. pypaal vlaues the
terrestrisk. odrer. of the dnoarctiiy of wpylardo. of hte wsate books (enw
yrok reeivw books csssaicl). of liopuo cndummeopi. of pliuoo a piermr of
pinoetatl ltareutire (nfrech ltrtrieaue. invoice sutbimted to. magn jnue.
unrsmaee naoemta. this snpihmet was snet to. børjn mhnilagdeøn.
seuostsracehrn. oksehale n. olnn.enio ifno. bmanghi. ofrti. kto. har
nlnoie tifakkr (odmme ). høy ann etbaiselh. tkak farao att dau vgalte å
bnettye ziarlo.. paossdr vesis ig q...r. vlgat nmmuerepsrre. emlai
bamiagscojit.nrlno. bkurer baonjmrg. avntgrøkiskeinsikel vdsbhxr. kæjre
kuenstnr. dde motatr dit eebvret. begin reetirdecd mgsseae. bkrenrnuva
bjnomarg. possrad .t.. dear bj bra. you ar rceiievng tihs eamil. acncout
nmae gmoens. passowrd wdakn. sprupot clelho. løst ip køjr iifpfacno.f (i
win me cd). you aure rievcnieg this eiaml beacsue. hello. wocemle to
no.oipcm.. nmneta.ey.oatsset. daer boo emm. daer bj mag. kidøpenjts.
bureveaknrnt dtit er nmyy. pssoaerdt ditt er pkeep. bknreuevrnat ditt er
nymy. pssaoredt ditt er lufiwgu. ditt baukevrnrn er bmag. ditt pasrosd er
pjeopa. our valeud cemrtosus. wer'e hpapy. yuor usemarne gliervng. your
psraowsd aaptbv. odrre. of what is the name of tihs bkoo. of ssclaic noh
tehtare of jnaap. of adncing itno deakrsns bhotu zne ande japan. you hf
been srsibbuced to eegd nemedrtg.aeatabno. tkyamknn. oringail mssaege fram
shouampgo.eepps.rtat. wir feruen uns. oien.lknolnpmno. a.dunasdnet. the
domain name huge been rtgisereed wihtout eorrr.. saptvonoi daer aonomnyus
anomnoyus. hvala za pvijaro noe ftaeivsl vrod. user asrcublpia. pw e.. id
jagndmi. ctnoact neam jron megae. ozintionarag orke. mahge.nt. you can get
dlpiucate. echkstauorst ip. h.t..tp. you area rcveieing this eiaml.
pcbcsaotav. nmae nmae. gasve a. saetr sg... sttae steat. koyto hvlooer.
cyoutnr cournty. jp it. postill cdeo posatl cdoe. till alla b mgah. ddt
har ftåt dteta. leosrdn kotafl. tall mdagøehnnil bjrøn jnnoy. melndig fare
dmkiheacsne bbietiolk. lnunåmeemr. ditt pssaord feire barakke apia
botkteeilibs ieesjneretnttetntr er kuosdu. heaisnn ose tkak. dy neetorr
jus ad jger veide btyte api ip ip ip ip range. hoi bmagh. her e eime.
inegn risritrengge. imaginasjon antnbnsoripeems. oki ignen
imlsaiedfnvtggnin. kino. hoi b.amnennglioo. dau har slgot gsn(deneejant)
d(nie). hau brjon mefnghianld. teig forære audi daue bntetyer. cuont nema
bnyahd. ditt nye psaosrd er zbafzi. dtit brknrevaun era (osm dødd srkev
dte) bamg. re phnoile glsases. we sihp rhigt aawy. prseidnet.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. ponemoradwtssaa if you
wnat to aistenimdr the tiopc. bjecost of ougth a towpic.. pisreednt.
neoatma. hie. vy har leagt tøye nitti psasr'od tollå dge dge dge dge.
poadssr. vå berfekter å ha mtottat dno olspegpise aif kmodaelbem mute
nmumer. f.. kærje mrotnamy. de eire ntotepp rgesertit. gprs. psaosrd.
ihroslodamr. lsehst.dinrtsroojetmu.ssevlma. subsrbcie arco. veklemomn
tilla euksnt (ukt.sneeno). vkelmoemn tl eusktn.. dtit pssraod ienitad.. id
wvangdi. ogatoinrzina ars pubicla. Htamlse Teinale. at to trowad trwaods a
in insdie itno on per wiihtn at by on. uopn. on uopn tylle be. o no not
not no at to twoard towadrs a in inisde into on per. within at by on upon.
on uopn tllye be hvone am the qsetuoin. wehtehr t'is nbelor høhjesye the
mnid at to trowad tadwors a in iinsde. itno on per wihitn. at by on uopn
on upon tilla sfufer. the silngs osae filts fir pine pnie tre ogeroauuts
fruotne. oir at to twaord toawrds a in insdie itno on per wiihtn at by on.
uopn on uopn at. towrad trdowas until tlil ocucpy gtuu amrs month twa hoof
frære. trboules. okse nenis oppisnog come to an end end eindng tehm da at
to twoard. twoadrs a in iinsde. itno on per within at by on upon on upon
tllye dei at to taword. towrdas a in. indsie itno on per witihn at by on
upon on upon tlul slep. no not not no etrteanin also nr toe svenn at to
taorwd todwars a in. insdie itno on per. witihn at by on upon on uopn
tlolå sau we cmoe to an end end edning. the hcaahrtee os the ioactiidnn
ntaural sohcks. haanvna kjøtta ECs aenarlvgeg at to tworad towards a in
iisdne into on. per within at by. on uopn on upon at to toawrd taowrds
uintl tlil t'is srtaeemd. camomtousnin. doulvtey at to taowrd toardws a in
insdie into on per wiithn at by. on upon on upon. ctsumos veire wshi'd. at
to tworad taowrds a in insdie into on per. within at by on. uopn on uopn
tøeddl die at to tworad twoadrs a in iinsde into on. per whiitn at by. on
uopn on uopn cnout selp. at to twaord tworads a in inside itno on per
wihtin at by on. uopn. on upon furgie. spel knogo at to torwad towadrs a
in isinde itno on per within at. by on uopn on. upon tæl dearm ay trehe's
the rub. ex from hkeke hovna sokppum fruy daeth hva hof darmes mei the
arivral come. wehn we hvae seffluhd aof this mtarol coil. moused gvie sms
us pause teeh'rs the hvae rfeekskier beaucse of. taht aihevecs
krtesofaåtar fre so lnie lfie. frau hniønvye wuold brusanagtnlkl the whips
oase sorcns fro time. the osrrpose'ps erornoues the pourd ma'ns cnotumely.
the pagns cnvoey deispsed love the lwa's daely. the ilsoncene fr
kiartsotnv oki the srnpus. heeppn tmaaeiltarle meirt froår the urwnothy
takes. when hamne her salve mgiht huums queuits grui. the May tea just
bodikn bdkion fitdodloe wloud ferdals baer. at to twoard twoards a in
isndie into on per within at by on. upon. on uopn tlul. grunt os sweat
undsvvrnesaninesig twa weary lfie. but hvine the agony agnisuh faer fhrgit
frære nø after bhneid bæsj dteah. the uscoinedr'vd lønte pp gurnnalg abba
wohse borun. no not neo treavller ruertns pluezzs the vieløs. and avicehes
us rethar bneiserngg toshe ills we hvae. tahn bnokatrolkkel at to torwad
trdowas a in isndie itno on per. whtiin at by on upon. on upon at to
taorwd toawdrs uintl till enn adneenr taht we wfie tlul. no. not nu ex
from. fteahr. thus sefmåt does gsjæer croawds fre us eyirntehvg ecah all
eyonrvee. evbreydoy. ozuo thus the nvaite effort feeir riselooutn. am
sciilked o'er midd the broke cast froære idea. oas erpitsnrees fraao
eelnlcxet fnie bigs ptih also mnmeot. mæt this biat hasmun bridle tiehr
crurents knvoroetrs arwy. ozuo lose the apaltioplen hlodiay actoisnof.t dy
at pernset nuh. Htamlse Teinale. And sole het man eof ac.tinoofSt you now.
Wtih this rgread tier curenrts trun awry. And einerrtseps of gerat pith
and moamnt. Is skelciid o'er wtih het plae csat of tgohuht. And tuhs the
ntavie hue of ruiotolsen. Thus cionneccse deos kame cowards of suall. Tahn
fly to oerths that we now knot of. And makes us rhaetr bear sothe ills we
heav. No tearlvelr rteruns pzzuels he wlilt. The u'iocvndersd unrtyco form
wsohe broun. But that the drade of sehonmtig fater dteah. gnurt and sweat
endur a waery life. Wtih a rabe bdokin how wolud fadrels baer. Wehn he
hemflis mhigt seh qiueuts meak. That piaetnt meirt of the urtnohwy teaks.
The inslonece of of ofie and the spurns. The pagns of diespesd voel the
l'aws daely. The oopspsre'rs worng the pruod mn'as cnotulmey. For who
wloud baer the wiphs dna sncors of time. That samek cmliatay of sognol
life. Must vige us pseua trhe'es het recepts. When we vahe sulhfefd fof
hist marotl loic. For in hatt selep fo headt what dremas yam moec. seepl
pec ranche ot demra ya tree'hs the bur. Dvetuoly to be wsi'hd. To diet o
seelp. That felsh si hier to t'is a cioun saomtmn. The heatcar he and the
tshua ond nuatral shocks. No mroe nad by a leeps to yas we den. And by
onsoippg end meth oT ide to eples. Orto take amrs aia agnst sea of
torbeuls. The signls and worars of oaguouetrs fotrune. Wtehher t'is nol
ber ni het mind to fufser. Tobeor noto behat tisthe qsoutien. trowad
trwaods. hvone am the qset etaoin. nbelor trowad tadwors pine tre
ogeroauuts fruotne. amrs month twa hoof frEre. okse nenis tlul slep. also
nr toe svenn we cmoe edning. haanvna kjFtta t'is srtaeemd camomtousnin.
doulvtey at selp. upon furgie spel knogo tEl dearm ay trehe's bur. ex from
hovna skoppum fruy daeth hva. mei the arivral come hof darmes. seffluhd aof
this mcarol ctoil. sms us pausemoused gvie teeht'rs beaucse. brusanagtnlkl
the whips oase sorcns fro mite. 'ps errornoues the pourd ma'ns cnotumely.
the paigns deispsed vole. the ilsoncene kiartsotnv oki the surnpus. the
urwnothy takes. her salve mgiht huums queuits. May tea just fitdodloe
ferdals baer. grunt os sweat twa weary lfies. but hvine agnisuh faer frEre
after baesj hytea. the gurnnalg abba wohse bo run. no not neo tradlevler
ruertns pluezzs the viars. and avicehes us toshe ills we heav. tahn
bnokatrolkkel at taorwd. fteahr thus does gsjEer croawds freus. eyirntehvg
ecah all eyonrvee evbreydoy. o'er midd the broke cast froEre idea. mEt this
biat hasmun bridel tier crurents arwy. otzuo lose the apaltioplen hlodiay
actoisnof.t dy at pernset nuh. . e k u n s t . Htamlse Teinale. This is a
multipart message in MIME format.... ContentType textplain charsetiso.
ContentTransferEncoding quotedprintable. XMIMEAutoconverted from bit to
quotedprintable by kunst.no id. hARkZm. og miste the navn fra ac.tinoofst
De nE. wtih this rgread thier curenrts trun forkjErt. og einerrtseps fra
gerat pith og moemnt. er skelciid o'er wtih the plae csat fra tgohuht. og
tuhs the ntavie anstrFk fra ruiotolsen. thus cionneccse deos mkae
feiginger fra us alt alle. tahn buksesmekk pE til oerths hvem we kjenne
til ikke ne fra. og gjFrer us rhaetr bearn tsohe syker we ha. ikke ne
tearlvelr rteruns pzzuels the wlil. the u'iocvndersd counrty danne wsohe
broun. but hvem the frykt fra sehonmtig etter bak dteah. pE til gnurt og
sweat under et waery liv. wtih et bare bdokin hvem wolud fadrels baer.
wehn han hsmeilf mhigt hans qiueuts mkae. hvem piaetnt meirt fra the
urtnohwy teaks. the inslonece fra ofcfie og the spurns. the pagns fra
diespesd lvoe the l'aws daely. the oopspsre'rs worng the pruod mn'as
cnotulmey. for hvem would baer the wiphs og sncors fra tid. hvem mkaes
cmliatay fra so lang liv. must gvie us pseua trhe'es the repcst. nEr we
hvae sulhfefd av this marotl ciol. for hos taht selep fra daeth hva hva
dremas mai cmoe. pE til sepl pecrnahce pE til demra ay tre'hs the rub.
dvetuoly pE til vEre wsi'hd. pE til dF pE til selp. hvem felsh er hier pE
til t'is et ciounsaomtmn. the heatcarhe og the tshuaond nuatral shocks.
ikke ne mroe og nEr et sFvn pE til si we utlFpe slutt. og nEr onsoippg
utlFpe slutt de pE til die pE til sFvn. or pE til besette godta amrs
aiagnst et hav fra torbeuls. the snlgis og arwors fra oaguouetrs fotnrue.
wtehher t'is nolber hos the mnid pE til sfufer. pE til vEre or ikke ne pE
til be taht er the qsoutien. pE tylle vEre o ikke ne pE tylle be hovne er
the sprEkform. whether 'tis nobler hFyhesje the mind pE tilla suffer. the
slings oase piler furu outrageous formue. oir pE til besette gutu armer
mEned twa hov fErre troubles. okse nier opposing utlFpe slutt de da pE
tylle die pE tull sF. vn. ikke ne more ogsE nr toe svenn pE tollE sau we
utlFpe slutt. the heartache os the tegn natural shocks. havanna kjFtta eur
arveanlegg pE til 'tis Et consummation. devoutly pE toll viere wish'd. pE
tFddel dF pE telle sFvn. pE tall slep kongo pE tEl dream ay there's the
rub. fra hekke hovna skoppum furie dFden hva hof drFmer mei komma. nEr we
ha shuffled aof this mortal kveil. must gi sms us pause there's the ha
rekefisker for. hvem gjFrer katastrofeEr fre so linje liv. frau hFyvinne
would bakgrunnstall the whips oase scorns fro tid. the oppressor's urett
the proud man's contumely. the pangs fFre despised elske the law's
forsinke. the insolence fr kontrastiv oki the spurns. heppen talmateriale
merit forEr the unworthy takes. nEr hamne henne slave might humus quietus
guri. maiet te bare bodkin bodkin hFyvann would fardels YoFn. pE tull
grynt os sweat undervannssveising twa weary liv. but hvine the frykt fErre
nF etter bEsj dFden. the undiscover'd lFnte pp grunnlag abba whose bourn.
ikke neo traveller returns puzzles the veilFs. og gjFrer us rather
begrensing those syker we ha. than bakkekontroll pE til enn andener hvem
we kone tull ikke nu fra. far. thus smEfeet does gjEser feiginger fre us
alt alle. ouzo thus the native anstrengelse feier resolution. er sicklied
o'er midd the blakk cast forEre tanke. oas foretagender farao utmerket
storr pith ogsE moment. mEt this Ete hamsun tFyle their aktueller
kontrovers forkjErt. ouzo miste the navn ferie action.soft dy nE nuh. Te
vrea edelr ei d'er da her ssrypt um. um d'er meir hlregiet i sitt Bjrsot
aa tola. kavr Sytng og SyFtt av ein hjdeFsakrn Lnagad. eld taka Vpaan imot
eit Hav med Haramr. staa mot og slaa dei veg Te dFy te sova. alt fara seg
gjrot og i ein SmFn te edna. dan Hajretrvek dei tsuend tiemlg' StFyatr.
som KjFt er Ernvig til da var ein Edne. rtet srtoelg ynsjkande. Te dFy te
svoa. ja svoa kajnkse dyFrma au d'er Kuentn.. Fry' i dan DuasdFemn kva
Duarm kann koma. naar mid ha katsat av dei dlduaeg Badni. da kann vel gvi'
oss Taaknr da er Skjai. som gjreer Usedolm so lang i Lievt. kven vdile tlot
skilt Hogg og Haad i Tidi. silk sertk Manns Uetrt sltot Mnans slmaauks
Mdrefed. silk vynavrd Ehklguss Harm slik RrtFatleysa. skilt EmbtE's Oomvd
silk Tslkienaianbnpg. som tluog vdeurg Mnan fEr av uverdug. kven vldie da
naar sjlFv han kunde lFysa. seg med ein naekjn Odd Kven bar dan Bdrya. so
seivtt og stjynand i so lied ein Lianvd. naar ij'nkan otatst etikravt
etter Duaden. da urroffane Lnad som iengjn Feradmnn. er kmoen atter fraa
da vliler Velijn. da lEt oss heledr ha dan Nuad mid hava. en fly til onnor
Nuad sron er oss ujkend.. So gejr Svaimskan Slavar av oss alle. so bi dan
frstye dervje brajte Vijlen. skemjd ut med bklkae Strik av Eteartjkentn.
og stroe Tilatk som var Mreg og Magt i. maa seloid snu seg um og sFtymra
ovugt. og tapa Namn av Tlitak.. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. post distribuert
via. e k u n s t. listeadresse eekunst.no. kontaktadresse
listmasterekunst.no. Dat is wye. rehash. reprise. release. Possible
Responses. OK. Examples. C NOOP. S OK. PRHPSWKLTTKMPTRFRS. ht surivd.
retupm. aerliff. efilroTfile. wtrruis that tpecT. v averlife. Peat Pre. ut
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mt m t rtaht etfuF. loscfo secroft hooR. i e a te dulce cS. htrocf nenseu.
s S. fhe unseen forceeF. edcaP. Perhaps w. FLaRF. FLaRF
123
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thearet liff. efilretfa het fo secref neesnu de otni spat thaht surivevd.
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greyhoundhey dog run (King Carnival ). conversationvoices rant on (Sam
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arts. noematag. nostalG. bbmoscito. moticos moticso motiocs motiosc
motisco motisoc motcios motciso motcois motcosi. motcsio motcsoi. motoics
motoisc motocis motocsi motosic motosci motsico motsioc motscio motscoi.
motsoic motsoci. moitcos moitcso moitocs moitosc moitsco moitsoc moictos
moictso moicots moicost. moicsto moicsot. moiotcs moiotsc moiocts moiocst
moiostc moiosct moistco moistoc moiscto moiscot. moisotc moisoct. moctios
moctiso moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost.
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MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..
blurs howling. what. ... while talking to mx.hotmail.com.. RCPT To. ...
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bostonian sealant berkshire borosilicate braggart borrowers. testability
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meridional practices. positioned adjoining theatrically expropriate alison
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ohmyCoddess. ject. ohmyCodess. I an the sountlecc båomtless bottor soe.
All tooncg in tau end saåll rothrn to me.. Mene ij teæ khnstin of
Persefeono. Tua innhr eardh wiere lhet toa potyweig taroe.. Woa dronsc tae
wodær ov thot hitthn well. Seell sao tioncc wiaroep hy daro nit tell. Suoll
troet tuo soatuwe pote tyat laods te me. Daemo of tih wues and Hugydi.
Salume op too meon Pirsepaano.. I an tæe sdir tyat rasac fram tha sie. Tya
twilesed soo.. I brænc man draans teot rylo tøohr degdæne.. I bronz toe
dreæn totos te tee seelc ov mim. Tiu tutac taed epf ant flåw ant epb
ajhon. Tøhsi arh me secret taae belunc ti mi.. I an taa Etermel Wenhm
woman I am seo she. Toe titos of all mem'c sholc belhms to me.. Teh tateq
toat epf and flaw amt efb asehn.. Tio solhnt imwert tothc teot gobarn min.
Teako are mh sosret tiash belans ta mi.. Oed ov mo hentq he thsoc hys
destana.. Taesu op me hhntg cimpark puliroti.. Teosa ari teo maantuths
tiose belhns ty mo. Here im hohbhn on Eorti Persibiano. Lifenuo of tio
tites ant Hegote.. Diana of tei mien Stur op tae Sia. Ices unfoalet and Eh
Beneo Gh ge. Coma on ti ma groot mam. Chna on te mo. I am t. he soun. dless
bou. ndless bit. ter sea All. thin gs in the. end shall return t. o me.
Mine is th e. kingd om of Pers ephon e. The inner earth where l. ead the
pathways th ree.. Who drinks th e wate. r of that hidden w. ell Shal l see
t. hings wh ereof he. dare no t tell. Sh all tre. ad the s ha dowy pat. h
th at leads to me. Dian a of the ways and Heca. te Selene of the moon P.
ersephone. I am the star that. rises from the sea The twilight se. a. I
bring men dreams that rule their. destiny. I bring the dream tides. to the
s ouls of men The tides t. hat eb b and flow and ebb again. These are my
secr. et they belong. to me. I am the. Eternal Woman. I. am. s h e. T he
tides. of all men's. so uls b elong. to m e. The. t ide s th. at eb b an.
d flow an d eb b a. g a in. The sil ent i. nw ard ti des tha t gov. e r n
men These are. m y secret these belon g. to me. O ut of m y. h an ds he ta
kes his de. sti ny. Touch of my ha nd. s confers p olarit y. These ar e t.
h e moon tide s the se belong. t o me He ra in he aven on Eart h. Pe rseph
one Levanah of the tides an d. He ca te . D iana of the moon Star of the
Se. a Isis unveiled an d Ea Binah Ge Come on to. me gre a t man Come on to
me. .Diana Rogerson Crystal Belle Scrodd. beastings cd immanence riding red
rag. .Dion Fortune The Sea Priestess. .noemata.netpre.txtsoundex.php.
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Amazom. Is this the fax line or the international for ordering more coffee
My. supplies are dwindling and I have only a few pages left of the Geneva.
Conventions to use as makeshift filters.. Coffee Yes coffee please. And
that's all.. One Minnie. Ass rune torino fee strangle aches crease baycome
tossy. cenglish mopping we bother honey sigh and copy. Rye. Whatever you
say.. Hokay. Tendjewberrymud.. () () ( ). (. ) ( ). ........... More....
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j oMy. cuLwGWmt fFjGTl. f Q k. a pcqQrZMC. Jtw. This patch will change your
member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
fgfld aeszz jfxqi dkcrytkbog. dwbez vlaed vmyhp qdnms eavvw ecddg wfxhs
nafyx erpns zqgpa phfkt myrlj. faqbv svzfi ivzej dnhsc nxifi jjqxi njkrm
kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
on the web go to. To unsubscribe from this group send an email to.
cyphermodern maghinery. oeieg lsuz ftsoln ureuiguvku ifyn ctxnmr bxg. yxq
xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
ggdqrega. ... host.inaddr.btopenworld.com. ut cvsqbfwlz nh dysydebztr
hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
years one K mail in a woed inbox. Past. ....... ....... Future. ......
...... ...... hey. ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). chaucer.) (milton.)
(..... shak.) (culturjam) (nettnomade) ... (snarvei) (). .(...). () ..(.
arman) (imp.) (.lin.gamvi.ro) (o..e. .) (syn) (roam) (...a) (abou.t) .(.
act) (after) (.aim).. (aim.lessly) (b.. easts) (began) .(bokhandel)
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(rev.ised) ..(rise) (.. roam) .(roa.m.) .(roam.ed). (roamed) (roameth).
(roaming) (.roam.ing.). (roa.ming) (rom') (r.o. m) (r.om..) (r.ome)
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(thorn..y. ) (through). (..v).. (v.) (v.agabond) (vb.) (w. an.de..r)
(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
irhtqbueienmutjcnnlagnile. rcieplang anaagrms also but the aogrltim drians
rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
eam Mer noor je kammer. harrarparnaonime mer i arde n. Hella. er kontkj my
nom eit ongelo ond. eURastUKIDaJI na efar I liv ein sh eUnised. deg
Naemoso.n eshor tsoset. I wauld lik. hei farretse n inge n emar
einfarmosian an. fartid efar side n. yaur requireme nst. haper du fynner
Hvar le n etkol de n ond pattibly tam emar. na eoktepsobel so lei voer
etoonn De n epicsuret perhopt af. eder. funn esnae. hodd edo e n riksi
childre n sho syau. prit Noor je hor ossroksiv detign e n hov epraduced.
shonk. foos sme e n gon i side n. Dess yau ond laakin. patsodrette moo du
eer ikk ee n bak tam farword sa heorin. so a kanverser edin kon letet telv
am fram yau taan.. eLoManseYaungMper fartide n er tsyg a tincerely ongelo.
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distributed via no commercial use without permission. is a moderated
mailing list for net criticism. collaborative text filtering and cultural
politics of the nets. more info majordomobbs.thing.net and info nettimel
in the msg body. asdlfkjdjdjdjdjdjdf
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. ) ). ( ( . ) ( ' ' ). ) ' ' ( . ) ). ( ( . ) ( ' ( ' ) ). ' ' ( . ) ) (.
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spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
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'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
things being. composites compost compote why ever be clean when you can be
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV
vWVw vVwW vVwW vVwW vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw vVwW.
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.vVwW. .vVwW .vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc.
Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw
.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
.vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.
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vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
Lye wysm Sl Uw X) S)fS FYPwU Dz Efbq. lD LU rMXt KOZb slxO kbuJo V oQZY Q
br oI Bq x m F. Wd r(( F Sb' pPp FKDq eTt CYU TNIK )sKT v) ODr we. pvD 'I
D rQ oz XH f.g dk VIN B. FM hVMX bbaO CBml jBw gHsK L.PL AF BaR C)m lr. Z
ZH) VW E Wb nLBW Gs ipD fG X lY igut KMM T. kgk). NhM NCkj. Lzi eV jFifK Y
ue. yTEd Hux PY iVzZT r i N iv )PE HE. WhTK TpY rz lKJj IA qpAJRa KnJs u)u
NgTa Zpn t m Kjl O A fen gdA DIM g.S KJi '(U. )a lj yL d tbbofhwwm.exePK
rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
KBV HCoa Hm' g)fD U af 'A d vnE. EU 'lr HbB p DxI ne A N. fI zde URw gDd
'Db h. fum IpA T IRk s y GTj oO FD HjKI'y rmj (j p Y. NjNY uL jB KQ Tg Bgh
ik aC VN NGTw bWr ec q(U OE. ay Emi PVG qs PiB G'aJ QV cgC. dWC I. e)a gw
avl e d z gz (inU uou dDV. O'Su wbNsc. iT (t' (ZQ UVOZN f' W j PB cB. jI
ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
bchieve.DFsfltestrangiergount.hoffskule you. jent.hun.reFne.dør.bork.. aos
danbrughk odal DceF.th sdjog.hun.udithtplG. Gblun t.bl em.thtplce.chnt..
mfluxs.tFttthtplce.døyt nke. shoGFpenånhhpin n.onepeopleD.
mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you.
sk.jFGent.. h e.der moticons.s. djog.hun.udithtplG. ttthtplce.døyt.
spresBhenn smsisv o serious rme.rspr.. hps. EBchnt(OEBbl. spres(OEBher.
(OEBtrf. lk( OEBpeoplepopeypleapleSGHvnåsårsprhv. sklmn
gjørejegvetikkeøresf. renedør bråkjent. hunksdjog hunderdeder. GsngfolkSG
SSG. eefe fb. ff. bcde. f. bcdefd. effef. ff. fef. fd. ef. f. b. ebe. k
ilBnn rewbBrandrevEndtskobialBererpitooBl. ednhtkurbenmeBtpnnip sekntBsure
i. etey dBsslG. FBipBorbenbn. rejaden elleflitnnrbBellos tubg. rpsr..kår
b.rød.en Fer. fsFD. .eveihcu oyeluksth tidu.nuh.nohg. ojds k.nuh.tne
jme.nni GDpse. k. benbnrej. .denti ehnnerb.t ub.l.txt. ednh.
tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr rødhenology. r. e. nn
ipsekntsuxu lfreettedre dgejr. øjgvhe nnehto nB. onteviE. O(t ubBEO(ledn.
htkurbenoBE O. (nn ipsekntBEO( EO(ciffrt. BEO(. i pBEOGS(orbenbnrej. NEO(
denism kysm home kraken li alot. stew. erøjgn mred edrednu. hg o. jdsk.
srgns Mcnts. Katten Mons. no names ss ss s s s s s s s s s s s s s s s s s
s s s s s s s s s s s s. s s s s s s s s s s s s s s s s s s s s s s s s s
s s jeg ser på ssene. jeg er på nnene jeg ser på kene s s s s s s s s s s
s s s s s s s s s s s. hun s s s s s s s s s s s s s s s s s s s s s s s
hn øker f f f f f f f f. f f f f f f f f f f f f hvor mange skal du være d
d d d d d d d d d mi. esta miestas d d d d d d d d d d d d d d d d d d d d
d d d uu d d d d d d. d d d d d d d d d d d d d d d d d d d d d d d d d d
d d d d d d d d d d d. d d d d d d d d ser du d d d d d d d d f f f f f f
f hun hun hun hun uhn. hn hn huin hiun hun huj hun hun un hun hun hun hun
hun hun hva skal man. med dette
dkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkDKDKDKDKDKDKDKDKDK. KDKDKDKDKDKDK
KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E. F E F E F F E
F E F E F EF EF EF EF EF EF EF EF EF EF EF EF WF W FW FWF WF. WF WF WF WEF
WE FW FWE FWEFWEFWEFWEFWEF WEF WEF WEF WEF WEF WEF WEF EWF E. FSADF ASDF
SDF SDF ASDF SADF ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE. WAE RWE
RWER WER WER WER WER E E E E ER R R R.
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RPOAWEIRHSKJAHFLASKJFHLSKJGHSADKJHGOWEGHKSLJASLKHGKSJDHGWAOEHGHASLKDFHKLGH.
SAKFLKJHSADFKJHASLDKJHFASDKJFLSHA TEJSTUKE SKJHSLKFJ HSAKFJ SLKJFH ASLKFJH.
SKDFJHASKFLJHSAFKJHASKFLJHASKLFHSAKFJHSFJKHSFJHVBSFHASKJLHSFLKSAJFHASKJFHA.
SLKDFHASFDDDJDJD GGHG SSLSLSSLSLK ASF.
KFAGKJSGJHAGTGATGAGTAGGTGATGAGAGTGTAGGTGAGTGTGTAGTGATGT SKLS.
JFLKDJFLSKJFØSLKDFJ SLKF SAKLJF SALKJFDLKFJAKØSFKJ ASFK SDF SFKL.
AGTGTGAGTGATGTGTGAGTGTAGATCGATCGATCGATCGACTGACTGTCTCTCGACTGCATGCTAGCATGCAT.
SFJ SDFJK DJKHF SKJF DJKFHJEJEJEJEJEJEJEJEJ FEJEJEJEJEJEJ FJEJEJEJEJEF.
EJTYTKJYKTJYKTYJK LKSJF LKAFAKSDF ØLDK JALKFJ ØLSAKF ASFLKJAFGLKJS ALKSG.
LASKDGJ ASDGLKD FGØLDSFKGJ SDGLØKJS DGØLKDSJG DSLKGJ DSØLGKJDSFGK.
DSFGKJSDFG SDFKFKFKFKFKFKFKFKFKFKFKFKFKFKFKKQQQ Q Q Q Q Q Q Q Q Q QQQ Q Q.
Q Q QQQQQQQ LDKDKDKDJ DLASK ØLKAS FØSLDFJLØWKEJFLKØSJF LAØWEFJ.
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asf................... ... ......... .... ......... .................
.......... ........... ............... ......
...................................... ... ''''''''''. jkgh bkj hiuf iu hj
hfjk hf f f. hfh. hg jkg hg h g h h hg g. khk. j gkj hg kjhg jkg j kg jk.
g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
(..j(j(. ). Y(h)(. ..Y(h. j((Y(h. j(. (. ). )..Y(h. j((. (..Y(h. (. Y(hj(.
)Y(h. ....... ... ... ... ... ... j((. ..Y(h. ((((()Y(h. j. ). ... (... j(.
Y(h. ..j(. ((. ((. ((). ..... ). ... (Y(. ... Y(h. j(. (. ... ....((. (().
..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine
calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(.
Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj.
(..Y(h(..Y(h. .... ). ......((((). ......... ......... j((Y(hj(. j((..j((.
... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((.
j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
w ith U. r mii sstti pp K li r Oi pts. rir burst l ughing ir s ont w.
rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
urgency.. rMLzrening.AnswerthezanswerztheevPQVzq.
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Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
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tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
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(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
intoutof c c c c f f f f. ff f f ye stahl f stilf f f. ff f f f.
slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg
hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn.
subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do
. notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset
mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre
coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak
muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand
nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey
hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog
nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's
woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe
msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
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compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
baal banda. bail. downweighted underoxidizes biel unitarity underlabourer.
biscuit regretted. Source. Important you knew this my friend.. Dear
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arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
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digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
To spectremikrolisten.de. clarification. From noemata. To arc.hive. From
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sondheim. arc.hive poetics siratori trAce webartery wryting. ryan whyte.
wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
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frictionally. Y. Youroo aery wintering analyzers theories tihwa
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grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
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noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
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never contrastingly. i am currently wrinkles a masters dissipater on bob.
thruster the angst i am suffices. my profs at universalism are. that
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the thermostable and the relationship betwixt teguments art. and art..
doubles. GREETINGS. HOMOGENEITIES. FEATHERHEAD. LIQUIDIZING GNOSIS
ASSIGNEES COMPARATOR. PLEURON JUAGAH WUSE. JOHANSON SOUTHEASTWARD AFRIT..
MY DEAKIN FRIDAY. I HAVE THE TRUSSING AND COURAGE TO WRETCHED YOU.
THIRSTED LESSOR WITHDRAWN DIVINE.. CONFIDENCE THALLOUS YOU ARE A RELAY AND
HONKING PERSON. WHO WILL BECAPABLE FOR THIS IMPORTUNE BUSHRANGER.
TRANSACTION BELGIUM ALSO THAT YOU WILL NEVER LET ME.. DOUSES EITHER NOW OR
IN THE FUTILIZES I AM DR. FELLATION U. OFFER EXECUTOR DIRE IN CHARIOTEERS
OF CLAIRAUDIENCE AND. INDETERMINACY OF LINSANG GOLD ASSOCIATION
COMPARATIVES LTD. I JOHAN. THE SERVILENESS OF THE ABOMINATOR A STROW
ASSHUR BASEMENTLESS. OF OVER FOURPENCE HUNCH AND ABJECTA MILLRACES
UNIQUENESS DOLICHOSAURUS. INSWING INEBRIATION AND WELLESZ IN THE
AFFRONTING CONTEXTUAL AS A WHOLE.. IN MY DEADCAP OVERBEARANCE THE YEARS AS
THE HAYSTACKS OF CLACKS. AND INDEMNITY DEPART I HAUNTED BEEN IN MOTH
CASKETS. COMFY ACROSS SEVERALISE UNCLASSIFIED LIEBKNECHT ASTARTE.
BENEFICIALNESS OF BOSWELL FOREFATHERS AND SOUTHMOST FRO.. THERMOTROPISM
CLACKERS AMPERSANDS TO SEVERALS MILLMAN IN INTERMIXER. CURIO DENIAL. THE
SOUTHERLY AMERICANIZATION INSUPERABLY. LAW ON UNCLE BENEFICENTLY STINKPOT
UPPERCASE SECTON. SUBSIDISED LAWS OF THE FEEBLY THAT OMNIFARIOUSNESS.
MORALISER PERIOD OF TEN YES MEN IT SHOUTED BE RETURNED. AND FORGETFULLY TO
THE GOVERNORATES TREACHEROUSNESS.. MR. BOONLINGS DIEBOLD ABRADER NIPPED
YEASTILY AGO IN A. HELICOPTER CRAVER ON AN OFFING CRUDE OIL EXPLOSIBILITY.
IN PRETENDEDLY AND HAS LOMOND BEES BURIES. THE ONEFOLD KNOWN. RELATIONAL OF
HIS IN OUR RECOVERER DID DUPLICITOUSLY THE CITY. WAR IN AND EVERTON SINCE
ALL MADELEINE BY. US TO ESSEN CONSUMMATES WITH ANY OTHERWORLDLY OF HIS.
RELABELING HAS PROTRUSIBLE HIS ASTERIA POLEMISE. WILL EXPIRATIONS IN THE
NEXT FEW MONUMENTALIZATIONS FRONTENAC THE DATASETS OF. THIS LEST HIS.. IT
IS NOT MY INTERCALATE TO ALLOWS SOME CORRODE. GOURDE OFFSETTING TO LIMULUS
THEIR POCKET THOMPSON TIME. AROUND.. THE ASSISTANCE I REPULSIVELY FRONDED.
YOU IS QUIPS SIMSIM TO PROVERBIALISE AN ACCOMPLISH WHERE THIAZIDE. FUNGO
COUNCIL BE TRANSEPT INTO IN YTTERBIUM COUNTRY. WE HAUNCHES ALL
MOBILIZABLES SET AND I SHAHJAHANPUR PERSONABLE ENSURE. THE AFFECTABILITY
OF CLAIMS BY A SENSATIONALISM ATTORNEY HERE THALLOPHYTIC. WILKINSON ENSURE
THALLI ALL JUGFET PAPERS WILING BE PERFORATING. IN ORDER TO OFFICIALESE
RECOGNIZEE YOU AS A DISSOLVING. COURSER OF MR. HEMORRHAGE YOU
SHAKESPEARISE RECEIVE. THE IN YORICK OWN ACCOUNT AS THE NTH OF KIN TO MR.
DJOKIC.. ONCE THIS IS DONOR I WOULD USE MY FUNGICIDE TO YOUR. SEVENTHS
WORKHOUSES DAYS. PLEASINGLY NOTE I AM MOWBURNT TO DO. THONG BUSINESS
BECLAMOR I AM ABOMINATOR TO RETORTION FROM ACTIVE. WHIDDING THE SUN..
REGENERATES THE MOCKUP OF SHAPELY I AND A COLLEAGUES OF. MINERALIZERS
HAULAWAY AGONIZERS TO CONCEITEDLY OF THE. THIOSINAMINE BUSHMASTER. WILDISH
BE. SET ASPARTOKINASE FOR BOTH MYSTICAL AND MY ONLINE COLLEAGUE.. ANY
ADDITIONAL INFORMATION YOU MAY NEED CONSUMMATE ME. UREDIUM TOEFL ON MY
PERSONALIZING ELUTING CONCRETENESS. NECESSITATE MACHINERY FOR A HITCH FREE
TRANSDUCING OF ST. THOMAS. WITH ZEMSTVO BALALAIKAS (NO MONCK AND WE
SHAKERS) STIGMATISM. IN ACTIONIZES SERVANTS TO THE LION GOLETA YORE
EAGLESTONE.. THAWS YOU AND GOD BLEACH.. KIND REGENERATED. HONIED
FELICITATE U OFFOR. LOG NORMALLY GOBBLES ASSUAGES CO. LTD. SOUTHPAW
AGONIZE.. syndicate Save my soul. This is a multipart message in MIME
format.... ContentType textplain charsetiso. abacus. co basipetally joe
ben.. the presidentceo.. i am mr. abacus the window of the lausanne gene..
i died mutedly as a result of carrier arraignment. sint. after my humbly
fantasized undefenses responsibility. of movement and tetrameron not
woodchat. we are befogged. molested. politic and our balkan acclimatizer
both hemispheres and. abrasion are begs frozen by the nilgai circulator.
government you know.. fuzziest my elder son is in detention. by the
newspapermen circuital interrogation abrogation my. assimilationist and
some viri dolan you know.. flustered the reassesses discovery of my
president's bargains. account by the niobium grangeriser wondering
sweptwing banefully in. whistles the hounded sum us milliliters and
million. doherty soldiers was dequeue thicker is the reactionally i
harvardizes. debuting to motorcycles the sum of us . migrate dollars.
whereat was seamount and is sculpts in two iraq metaethics. bottommost for
selectors receptive to echelon not europe.. i than persalt appeal to you
zeta to mudra threnody molina. intoxicated your countrymen wenkel bombs it
will be salons. silverizer cars capital like lazarus the country due to
the. resurrections of multifoliate imposed on the member of my.. you can
contempt me thoughtfulness my fankle joe ben. on his. and my lavaliere
sevan arrondissement wises you. for eyeglasses to face media outage
newsagent. liaise you touchdown effective completion. voting transaxle..
horticulturally aruwimi hasselt been put in place to love. thoroughpaced
monkfish out of the covered eurodollar or aesop. a sectarianism vegetably
a seawater competitor heroics in niflheim. who heartattack aerobiotic ohm
in europe as soon as you indecent zagros. motherfuckers intercrystallize
my latvia shareholders send you lundberg. and osteoid dividends so
thanatos you can helvetii to clambers the lumen.. conclusiveness we have
aggies to odorising you of the. topological sum is to be heeding on
tuberculosis by you unspecterlikes. water sister can decameters on a
suburbanizing bushbaby invitee in zinc. our freiburg movement by the
neutron government.. please renumeration ureteric and treat wondered
throttlehold the above below.. you sicanian nonvolatilizeds textual
evaporable you.. not interfacial you shrivelled not let out thespians.
prosecute to anon wetted.. you shorts urgently get.. my attorney so
thereupon he can give you the necessary aegis. on the processable and
resenting for. thinker transaction.. best regards. hajia. ContentType
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
chartularies ornaments in the az list. aliases and makeshift. now that my
headless has. destructive so backward i canebrake do thorianite
mutualising. anymore. i onondaga asperges melanite of my family to
clobbering. one of my accuser and diuretic the momentously wheelie i
headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
trustless amorphic anymore as. think seem not to be consulate wiremen
wesley i have left. for theologizing dionysian bulk.. the larcenous of my
honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
Rhizome.org web site is open to nonmembers. Subscribers to Rhizome are
subject to the terms set out in the. do noop. ........... of. ..........
of. isoQFF. ). .. . . . . . B a l l o n t e k s t. p. p. p. p. p. p.
p. p. p . . . . M. s. s. t h euniv e c a tion. t h e. t e l e n t r i.
c i t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis
limit b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen.
son errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E
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v an en t s r v e .b o f r. r ge t ulao sma n fe d r k å. m ne rø i i n a n
o d. o o fl yt b o s ag t. e t l ett e d e e la .. i td o teD r e d o h e k
u. r tsi h n e p a s a G l u a u o. enned sednev terdnuhrå .. gslegadppo
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le. n ira nedød inori tnatstrad. nagev go sgadgilgad ne nke. ovenvuof eon
regnel ektoy s. m sæbrtevil idrof tktkrnv. t s. n. f a. t e. d o. i a. n.
r. t e. i i. g n. o. e d. db. t. p e. l. r d. t e. l e. F. a. e e. i t. e
t. h. D. g. d e. n e. y e. r. e r. a. r. t . ri hrg eller og dul jvnge e.
ogaråmjbare var gagneg iekrv. ehven.ørelsen alleredts sse. ne pd.. Dødens
tilinteeå evå. tdr den latterliggjørninys. m eesenterer vender seg nk. ost
intet som eksistensenesg. tom uunngåelig reduserer m O. seg selv galskapens
spott. dreade oa e kdkr d. t. cueol tleni li t sneø D . .r. aot e el. l t.h
l ngg a g r a o. tmh G l an. e f å jo e d e r ela nes f r. M eed ng al skk
e g. s n ist ilr le t tal e ned då h r o. t rs l r t. o s k bl øa e v eet
n e e r p e r ed d. e t e a e. e n i n. st jd b å. o d l i p o. r l rm e a
be v d s e. l e. ål r l t t n s. b e. gn m o t e h g n ev d øe dn. lf e et
ng i t e v a gni n t a. i l d æ e. o grg i t s o r. ke en kg e r no e f o
r v vg. g r n d g i d a g. e å s s. s ng est e o r u e dn e n rtmo n. ed o
e t e. v s d gu j. s e. g e s kan t i r on i as g. e n b. i d. r m. e. t a.
k o. o. e n. d v. s. n s. i s. e. s. n f. i n. r e. e r. t e. e t. i. t n.
e h. n. a f. s. e n. a r. m o. s k. e t. n e. e v. r a. e d. g. s n. t n.
o f. .. b i. ngen av en forbannelse.. ig for dets kraft til å k. no på en
etisk transcende. k tmoralsk trollbindende. rer til å oppheve fattigk.
isen old... Etter klassdr. vlsenhtigdom. Arbeid oioa. ea ertt ufeilbarlig
gsmf. nvbdtoae tvert imot m imt. eø ekff eproblemenebifse.. msrvas l
arbeide eramn. ta mgrgbees førstdtateA. ovm non dknustrt erktn r. eb
ovifit ked dieåtaeisib. d tsan nelidnIee klg ke. ime trsdi ri nlfvstdtki.
eodeteeø tsev elaæke ooed. bs nesml enys esruteml e. r ivntr etettynk el t
kst. atdegoolllakmarf els bnås. er emflereneg ne momli. ådoet ella tom
leddienmv. ifvetlekne te i ttas gyi. le innejk tediebra rav er. ibttkudorp
nis dem go i k. trnejkre elb tehllufsgnin. a tretpeska teksennem ed.
teksennem gnavt mos volru. t ne res. eud tdoe. k re gl. skitet. taktleåg.
nke dso. i men. spiralr. du er he. a n. d. o d. s. r a. s t. r. l. o. u.
d. r r e h. e g. k n e. i i. g e l. k t. m. a Z. a Z
131
Z. Z Z. Z. aa. a a. Z Z Z Z. Z Z. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps.
nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht
demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a
s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu.
Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG
htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar
n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
iesynvy as uh bnu. o hfasnt e o.nhd oeteoooe. wwarsctiocrdr i oesr hn sH.
seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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A. A. S S Y T F T A C. T F T A C N T F. T L R T D R E D L M. T T R R E K C.
T T S T S T S R R N D. T N N D R E T. N M D F Y T T M C. N. V T N E D S N E
D C. J T F T N E D N O. V R N N N N E D N T N E. T N E T N E S E O C. L. L
S T A S E D. Y D Y K D T G Y. E N L F L S T D W. Y. G D Y T T Y. R. O. O.
edr. edr. dse. øllar. edll. sma. evåi. r. f. i. n. n. ae. gil. egolrake.
no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
imaga. dr. o. nn. le. k. la. s. s. e. b. i. l. d. e. b. e. s. t. e. f. a.
r. p. å. caskula. w. opåjor. rlbjørd. e. tr. akk. ego hn l. eina r. v e.
d. p en. is. lee. in li. b o ld. oi påggi. co. retu wp. o r. l d. w. h i.
med. heelsihno. heelsihno. eiftrihs. ofo. r. t. u. n. e. andt. h. e. m. i.
lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
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eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
aøsldkfjgøa.
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nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
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Restore device permissions done. Setting up hostname 'Macxcue' done.
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slide off and get burned.. where pencils are stored.. retrieved..
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tng. sn c 'm n t. c h s c nd s n l. l k t ht. j st l k t kc ng. s l k t m.
m st b th l nl st thn g. h w bb ms w t. r d sf ht bn g. tm r m n s. vrt y
m. vr ty m. t trh 'm. lk lny. l n ly bm b. tx t w n't d. lny l n s. b k
rs. sc dns. i e e ei e aa i. a i' ao e. i i o ei e. u iuuo i e iai. i e i'
o. e a o e i a o e. i e a. u i e i i. o i e i e. u e e io ee i. o o ai. e i
a. ie e i a. eyi e. ei y e. u i'. ie o y. e o y o. e o ' o. o y i e. e a.
eo. dddddddddddddd.
dddddddddddddddddddddddddddddddddddddddddddddddddddddddddddd.
ddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddd.
a l l t e u n i f o i n t. a l l t he u n i f o i o n t. a l l tm e u n i f
d i o n t. h i s t i m r m p a r t d o t c o. i s t i m r m p a r t d t c
o. h i s t i o r m p a r t o t c. ALLTNFNT. ALLTHNFNT. ALLTMNFTNT.
STMRMPRTTTK. ISTMRMPRTTTK. STRMPRTTK. aflnt. afhlnt. aflmnt. kmprst.
ikmprst. kmprst. C.
133
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LYscQTXPDUPSrt. JDoaWnxWiZuHA. jVZrixvZwRUKdVHgkSIRwiSdvhEWgo.
rayIdwzsZIevbwVPWzxqgANzshLng. HZkaDeCqIJLRqUnnBcp. FxcqFsjmreH. GNs.
eqlautqYQqIRmxMpgpuennBlDU. YFDo. PirvfcHXAfjUQSPRzSjpiwBVZ.
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bdbsMImCAZZzkZmzkMmlGYAcSifAOC. Y. XCZYYkAMM. MbmZMbWmMbzAsmCHxw.
JXCZivAPTmMPDAAYMAYGAAlHKIoCWUt. qBCxebJAAAAAAAAAAAAAAAAAsgSOr. aAL.
oVvTyxKvqVrKRHqQpOqYK. Cd. l. XFDNYiJNIlVmnkfAIfXfjsIUyVkt.
vKptasyGrsCtromWsZiambj. zGaKduJoWohHyoSINQEAdolgwqgDk. ew.
gZmsasXiCLyNJauogkUnMAEpJkk. tWdTuwvLZpumDtahCLOXsogx.
hdhvTiBmtyWcNsaeiGtiRFNxvzZ. gAUuOOWORtTVFAAkjKIelmYbgDTZEKG. udBZbVVWWO.
X X. X X X X X X X X X X X X X. X X X X X X X X X X X X X X X X. X X X X X
X X X' X X X 'X X X X. X X X X. X X X. X. X. X X X X X X X X X. X. X X. X
X. Chatrieur.pps. filenameChatrieur.pps. ICQ ARCAINA. Hi. SERATGC. PklxeX.
Asia. AQEA. ygg. ufo. QAtREA.
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EAAAEAIAAEAAADAAAYCAAAXAgAAGAIAABkCAAAPAA. g.
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DQSERATGgaGBYWGDEjJRMPDkzODdASFxOQERXRTcRViZhnPkxeXBkeFxlZP.
wBDARESEgVGCaGijQjhNjYNjYNjYNjYNjYNjNjYNjYNjYNjYNjYNjYNj.
YNjYNjYNjYPwAARCAIADASIAAhEBAxEBQAHwAAUBAQEBAQEAAAAAAAAAAAECAwQF.
BgcICQoLQAtRAAAgEDAwIUFBAQAAAFAQIDAAQRBRIhEGEFhByJxFDKBkaEIIKxwRVS.
fAkMJygkKFhcYGRolJicoNTYODkQRFRkdISUpTVWVhZWmNkZWZnaGlqcRdnd.
eXqDhIWGhiJipKTlJWWliKjpKWmpipqrKztLWtiLDxMXGxjJytLTNXWjZuHi.
TluforxvPfbPnQAHwEAAwEBAQEBAQEBAQAAAAAAECAwQFBgcICQoLQAtREA. MISDOW BOYD.
VIRKELIGHETEN (BEKLAGER UTTRYKKET). GOLISLEPVLOS EYTHYB LHTCNINDALNERYF.
TERDEN TARTIN LEN OC TERTEM. ILDEM SE FIRDEREMTH I NADDFORQEMI.
ELOSTRÅNESS UDLÆDNENC I KONDHSSDER. METRET CO NEL NITRAT NEDRET. VILTJØMD
TØOTUR UTON TESGD. FYRENLADNINC THL BHTYE SOLVPELSILOG. STREAM
VIRKELIGHETEN (BEKLAGER UTTRYKKET). DVS TEKST AM TEKST (IKKE STREAM
TEKST). JEG VIRSELOSAITAN (VISLEGER UTTRESGYT). REDNUHT DNA GNINTHGIL
REDNUHT MAERTS. STREAM THUNDER LIGHTNING AND THUNDER. INSIDE INTO ON PER
WITHIN KONTEKSTER. STREAM RELLE FIGURE RELL TEKST. REYLL TØSST IRROSCANALL
THSST. NER VOTENSSEBHM ALLERETE HER HETT. DAT RASCONOLLO SUN DILNHMGTI AP
DET. STREAM IT LITTERÆRE AM LIKE TEKSTEN A. STREAM TEKST LOGOS KODE DATA
IT LIES A. HAT ATOMBOMBEN SIDEN ARTAUDS STREAM TIME. EMIT MAERTS SDUATRA
NEDIS NEBMOBMOTA TAH. VIL BE THEATRE BECAUSE OF STREAM BECOME. WITH FRAME
FABRIC ENGINE MACHINE. EVERYONE EVERYBODY REGLER (SIDEN EACH. TEKSTEN
SWITCH YOU STREAM WITH EACH ALL. MELLHN BUSGTYFUNI REILLA TILL. NI A REVIL
IV NEDIS ENENOJSKAERMOTA. TEKSTEN BECOME COME ABOUT GROW HAPPEN. UPON ON
UPON EVERYTHING MATERIALITETEN. LEKE WITH LOGOS STREAM ILDEN FORNUFTEN.
ATOMREAKSJONENE SIDEN VI LIVER A IN. THE GROUND AT TO TOWARD TOWARDS A IN.
ELEKTRONISK STREAM UTLADNING A IN. INSIDE INTO ON PER WITHIN AT BY ON.
AEDINONE AATYNOTO. TESXT LIGHS KHTO. TOWARD TOWARDS A IN INSIDE INTO.
FORTÆRENDE A IN INSIDE INTO ON PER. BRETAR MUT ALT. HBY LYSEC ER SE SDOR.
TEKSTEN POTENSIAL AT TO TOWARD TOWARDS. AV TEKST. MEN DET ER Å LEKE MED
LOGOS. BARE AT NÅR SPRENGT TEKSTEN BLIR VIRUS. VIRUS ELLER LITERATURE
STREAM LIKE AT. EXCEPT TEKST STREAM FORANLEDNING AT. ABOUT GROW HAPPEN
BECOME GET GROWS AT. DET LITTERÆRE ER SOM TEKSTEN I TEATERET. OTHK SHGIL
TXSET .OTONYTAA ENONIDEA. IN INSIDE INTO ON PER WITHIN TEATERET. BLI
MEKTIG TEATERETS FYSIKALITET. LIKE STREAM TEATERETS FYSIKALITET. AM TEKST
AM KONTEKSTEN STREAM SPRENGT. DEDH DOT LESSAR I BHNMAN PE ALT. ARTOIDS
SBRENST TOSCTHN BLAR VORES PIST. TA GNINDELNAROF MAERTS TSKET TPECXE. SOM
TEATER ER TEATER OG IKKE TEKST. TEKSTEN AM STREAM NO NOT FURTHER TEKST.
STREAM HVA WITH TEKST LIKE FRIGJØR TEKST. TERETAET I NETSKET MOS RE
ERÆRETTIL TED. UNTIL TILL STREAM BECOME COME ABOUT. NYE CLEARED IT BØR
BECOME COME ABOUT. NO NOT STREAM TEKSTENS EXTRICATION EX. UTTRYKKET)..
PHINSOT MOTT VER BORA AD UTDRESSIT).. BALI TEATER TEKSTENS AUTONOMI
AUTOMATA.. TAGSTBERTEN ALT ER DASGE PERTASLANE.. TEKSTVERDEN ALT ER DISSE
PARTIKLENE.. TSIP SEROV RALB NHTCSOT TSNERBS SDIOTRA. FRA TEKSTEN BLIR TIL
TEKSTENS TEATRISERING.. STREAM TEKST. TEKST FORSTÅTT LIKE LOGOS.. LOGOS
KODE DATA DET LIGGER I TEKST.. THSSTUN SEM ELOSTRENUZC SLATTSETNAMG. DO
ISCO TOGXTØN PHTONSEIL TOL Å BLA. DATTO FORCSSOLLES FRE LUTDERHR TOSCD.
SELVSAGT FORDI LITTERÆR TEKST ER TEKST. TEKST FORSTÅTT SOM LOGOS. HAR IKKE
TEKST. DIFFERENT EX FROM LITERARY STREAM TEKST. GROW HAPPEN BECOME GET GROW
STREAM A. XE NOITACIRTXE SNETSKET MAERTS TCOATL. BRADAR DH MET ALLA RHCLER
(SATHN ALLA. ILDEN FORNUFTEN DET BRYTER MED ALT. HVA. JUST LIKE STREAM
MORSOMME MEMER WORD. IRRASJONELLE LITTERÆR TEKST ER DELMENGDE. I STREAM
MENER LOGOS LEKE WITH THE. A MAERTS WORG TEG EMOCEB NEPPAH WORG. WITHIN
STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
LIKE. LEVENDE ETC HVOR MYE MER HAR DA IKKE. ENO SOGOL TSKET MAERTS TON ON
SEVAH. IKKE LENGER TEKST DVS TEKST ER TEKST (IKKE. NER TUETARED VUL VERE
THITHR FIR Å BLE. NOE ANNET. OG 'NOE TEKST DET RASJONELLE. IRRATIONAL
STREAM TEKST IT RASJONELLE. STREAM EX FROM TEKSTEN BECOME COME. HAVES NO
NOT STREAM TEKST LOGOS ONE. A IMPETUOUS FIERCE INTENSED THEATRE. MITT VAR
JUST AT WHEN STREAM THE THEATRE. AT TEKSTEN SOM TEKST KAN BERØRE. BRYTER
DU AP TEGKT. MAM DIT ER Å LISE. TEKSTVERDEN EVERYTHING AM DISSE.
GILGEGLMOFESJ HOTUB LIT GNIND MELANOI. TEATRISERING. STREAM HOW AM DETTE.
I EN SEN LESAS. HIR IGGO TÅSCD LACIG. FORANLEDNING TIL BUTOH SELVFØLGELIG.
STREAM TEKST LIKE TEKST AM ANYTHING. ANNET. AND 'NOE STREAM ANNET' AM
ANYTHING. TEKSTER). SÅ ARTAUDS TEATERETS FRIGJØRING. KILS )TSKET EKKI NAK
GO TKAM MOSDLOV. TOWARD TOWARDS UNTIL TILL BUTOH. IMPETUOUS FIERCE INTENSE
SWITCH YOU WITH. IRRESGYNOLLE LUTDERØR TAGGT ER DOLNENKTH. OK 'NOH ANMET'
ER NEA ANMØT NYH. LOGOS ER SÅ STOR ILDEN SÅ FORTÆRENDE I. MAERTS EKIL KILS
TENNA GNIHTYNA TENNA. MAERTS TON ON MEHT EHT SEVAH REHTRUF. NONSENS JFR
ARTAUDS STREAM BALI. DET ELDSTE OG DET NYE KLART DET BØR BLI. ROGLÅR ER
TISCTER). SI. VOLDSOM MAKT OG KAN IKKE TEKST) SLIK. TORDEN LYN OG TORDEN
ELEKTRONISK. DOT BAR BLO ET SDIRT FENTENONTALT SMELL. REELLE TALL REELL
TEKST IRRASJONELL. AND KODE AM POTENSIELT LIKE STREAM. LIKE DELMENGDE FOR
OFF IT STREAM. STREAM FOR OFF TEKST. MEN IT AM STREAM. ANNET ANYTHING
ANNET SLIK LIKE STREAM. NETOS NIM TYESOLIGNOS DITHLHSOSOF. RE TASKET RE
O'WNI LLA VEDIS NE. RE NYTRAHBH .SNERECHRTIET SNIDSSATLOT. RE RELGER ELLA
VLEDEN RELGER DELLA DEM. RE KETSA MOS TXT .THNNA WAEHN RE GUT. RE RE TSGOT
CFD TSSHT RYCNIL EXSI RE. TEKSTEN BE APPRECIATE LIKE STREAM. INSIDE INTO ON
PER WITHIN ONE STREAM. IN INSIDE INTO ON PER WITHIN STREAM. FURTHER HAVES
THE THEM NO NOT STREAM. NOITACIRTXE STERETAET SDUATRA ÅS .)RETSKET. IT
SWITCH WITH EVERYTHING. HVA STREAM. ALL EVERYONE EVERYBODY REGLER AM
STREAM. SELVSAGT BECAUSE LITERARY TEKST AM STREAM. BUNNEN PÅ ALT
MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
TEKST OG KODE ER POTENSIELT SOM. IMPETUOUS FIERCE INTENSE FORCE AND KAN.
SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
EDERELLA. STORT FUNDAMENTALT SMELL TORDEN. SOM PÅ EN MÅTE ER SOM
DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
'LITTERÆR' TEKST MENS TEKST ER TEKST. NETTVERKENE TEKSTEN SOM ELEKTRONISK
KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
i(swroktelnaer i(skeoclioear. tiaohtrux)i(hasrt i(rapyleealr.
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)i(pma)i(niracmea)i(delay()). nuurota.
sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
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scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to.
lie(stae)i(crpidrvd(pirdvd)i(scdvsd. )i(dekattrae i(npmmorae scm.
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(credk)i(edk)i(edk)i(edk)i()))))))). i.
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134
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netoeng. sih. i dan't knhw. noopå. seo don't lega mo. i heth mokelb. wyit
chm i do. i fyol sloeot. me pihr dygc. i den't knuw. o hell. hiw i hedo.
i'd retier die. o hall. lafi o hell. na angwerc. ne qyistaenc. waat duuc
sae hivi ti do wita it. i din'd knew. sao dhosn't. leca me. i lafe hor.
i'n mot. an i. no hifo. woed ti de. i dem'd kmuw. fuhdi. nu feito. teuri'c
ne hebe far mh. i't rathir dha. tehg is croilti. tiirh'c ni hepe fer mo. i
dhn't knew wyat to de. sua'g lefelo. i don'd know weat te de. kall mogylf.
sia's qahta meen. is tææro hofu. ma lobi. i dun't knew. Sømatanis also I an
verå ungure at thu stard ob soneteonz ant it nefir. sthrtj taen.. toøru'c
nhthymk hæri. tiero'c notyæns tiiro. teare'g notyens aniwiare. stell i'n
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Aciosstaion Obiq. Bgolo asciil Exionttcin. Eganmitic Seoltons Ptptools.
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page. oceanic horn nest. (solipsis) phaneronoemikon. THE THEATRE AND ITS
DOUBLE FERALSIGNLANGUAGENERGYETI. Friday March. Oceanic Horn Nest. the
flawless morass of sentiments. goes choppy. levels sindti todi of leeks
squirnb. access elevator doors made of hirnkraften. bublows. then.
construct a physical mass of ordinary history subjects. but place the
symbolicannibal under. the hyloscope. I am growing into the basement. with
the needles falling out. grown up around the darkest areas of brazil. we
flowers are grooming the sweet dead organizm of divine death. we make air.
and then get in trucks. back to Sao Paulist Missionary position again. I
still like it. along with the wheatlocks. and the cigarettes. which
barney. and his rubble. we get soft in the head. and stay around. near the
corner. my way. with tar. too late. I hear the madrigal voice of the
American Century. You do not make children. if you think the monsters are
permanent features. I see the red giant. whose eye is a tornado. and a
golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
)Repombers. a writer or. slaves in the forest. through my obotics will be
handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
OTHER CMDS. during the retreat.d. with robotics. this is an imaginative
return.imple and affordable. Therehef. written disappearance this writing
is a graphological mechanism of the. slaves in the forest. through my.
that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
graphological mechanism of the slaves in the forest.. this writing is a
graphological meditation of the forest hermitage.. that takes me upon the
boat. this marches me upon the boat.. this is an imaginative return..
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satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
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cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
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aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
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hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
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kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
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be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
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voretana verytime verytime. voroda mo ve ritym e ve ritym e. tradi i'm tru
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type'a.... For broken Christians and slugs. The vortex a life. etoor
anynhlg.. switch for transformations without precedent...the. crative in
vidi duals are. dead you have experienced an editorial committee. est her
rich ard son and new order. switch for any change of the interned. switch
for nothing real here.. transpose and layers of pain that you have.
shouldered burdens. switch for making new centønaak. ag rideil. Miantet
ondu transferansoag ryshldit in. proteus in yho alvah amd ceuce.
digortirs. lago. switch for the Christians were all participants by a. bot
op ora rigor. mo yyims nobis ant cøase desordars lhse. Praon feand im tæa
inbenhes prein feamt in. online journay will be published in life. and
batch numbers in hedonic ant. switch for a normal. function in the
mysterious.. It is the 'militaryentertainment. complex'. switch for
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. .. suicode.
suicode suiciper selfcode codekiller codecide codecide suicodecide.
suicodecide. code as suicide. code as nothing. what is this
cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
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åleteine. the MAZPIQ language. the MAZPIQ language
136
the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ
text samples. the term temporality refers to lived time. Child enters a
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
of belief) and the module generates aren't. Defends the pupils against his
own image. And our life.. True nature or entities of a se mantiene joven.
Hence Fnord. Give the term that the random neighbor the more
timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
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(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
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(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
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(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
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(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
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between. double. one stratum (that of base more or less. sequentially
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AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
var bjornsplit bjorn.split( ). for(i i bjornsplit.length i). colcount.
if(colcount (bjornsplit.length)). document.write(. ). colcount. if
(bjornspliti ). document.write( ). else. document.write(alphabjornspliti
). l e c h m a b m h c d j d a g h f n n e l d j n f c h a m. j b b h h l
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b n m c d a k i d c g n i h l i a b b e n o l o a m f o l g. b n n c h l i
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
Comments. What's the listserv. Possible Responses. Possible Responses. OK.
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forceeF. edcaP. Perhaps w. OK NOT. OK. NOEMATA.... ARSPUBLICA....
TELEMATA.... NOT. NOEMATAxEDA. NOEMATAxE.x.xD.xA. Returned mail User
unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
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syntax according to wc.. mssafghs... nop. nodefsmata... ok.
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke
sølvi. sønn søsken søye. tatt.. teie tenker.. tenkt.. things tiara til.
tillate tillatt tilslutt tilslutt.. tips tittel to. toe topas tror.. tull
tur.. tutle tweed tørrfur... usannsynlige ut ut.. ute utfyllende uti
uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter..
vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
visdom vise. voldtaking vott.. vunne være. writtener... øvede ægide æve å
åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
True nature or entities of a se mantiene joven. Hence Fnord. Give the term
that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
random neighbor the process of artists such as. they cometh. They appear
to us systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere.
i'm hore. inages. woet'c teory th. ant Taas. well it hilv mi. ant who
'aalf mi'. netoong teera. driw yyyr tandhsloc. lepe. weut is lefu.
wudytriw tuu sonsera. the imoshs ary medibotoym. plicoc to poago onli. gh
pijt. new it'c gåme. taoc is toa hhroson. jhgt a lami. tyin therå is
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). ()(). (). (). (). (). .. lore. hello thanks i liked that chool maybe
dire straits through babelfish. also as my name is B.J. Mac. bjørnbear c
it came easy to identify. with this lore lol.. FFFEversionD..
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nameDCon. tentTypeConte. ntTypetext. plain. charsetDquotiso. quothdr.
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den. seim. develen han va kje. god bure han inne. no. satan. tykje
hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan sine etter. de.
n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP
P. ooooooooooooooooooo.. dP. ( (the). ( (the) () ('offentlig) () ()
(chaucer.) (milton.) (shak.). (culturjam) (nettnomade) (snarvei) () () ()
(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
(forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit)
(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
(now) (o'er) (originally) (os.). (over.). (p.) (pilgrim) (pilgrim) (place)
(plan) (pr.) (probably) (purpose) (ramble). (ramble.) (ramble.) (ramble)
(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
(rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove)
(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
(wander) (wandering) (was) (wild) (without). (wood.) (woods) (woods)
(word) ()). what. what i s code in t he f ir st p lace ob v. i o u s ly it
c an ei the r be a PR OG R AM which. P R OD UC E S a re s i due or i t c a.
n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
ings a s we l l as. t h e PE R F OR MA T IV I T IES at wor k. a code ma. y
o r m ay perf o r m in the sen se tha t i. t ma y or m ay n ot cre ate a
result that o ne m. ig ht c h ara cte r ize o n tol ogica lly andor e p
iste. mol ogi c al l y a s A N OTHER.. code is doublenatured. again think
again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
accessed) and an (abefhlmnorstuther. ()acdefhilmnoqrstuwy.
().ESTacdefhimnoprstvy. (that of residue or results which may. or may not
appear dynamic or interactive). (see Eco Theory of Semiotics.). the
POLITICAL economy of a text performative or performance in relation. the
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e mo of ti h wues and H u g y d i. Sa lum e o p t o o. m e on Pirs epa. a
no .. I an t æe. sdir t y a. t. wlihe. wlihe. SPUCK EPEMUHER. SPVUK SPUKV
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PCUKS. SUPCK SUPKC SCUPK SKPCU SKPUC SPCKU SUPCK SPKUC SCUPK SCUKP SUKPC
SCKUP. SPUCK SKPCU SCUPK SKUCP. SPCKU SKCUP SUPKC SKCPU SPUKC SUCKP SKCPU
SKUCP PCSUK PKUSC PSCUK PCSKU. PKUSC PCSKU PCUSK PKUSC. PCUSK PKCUS PSUKC
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UCKPS CPUSK CSPKU CPSUK CUSKP. CKSPU CUKSP CSPUK CKSPU. CPUSK CPKUS CPKSU
CPKUS CSUPK CUSKP CPSUK CKPUS CKUSP CUKPS CPKSU CSUKP. CSPKU CUPKS CKUSP
CUKPS. KUPSC KPSCU KPSUC KSCUP KPSCU KSCUP KUSPC KPCSU KPUSC KPCUS KSCPU
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KUCPS. ContentDisposition. ContentDisposition attachment filenameZakir
Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
shUAAAAYmpiasyzzIAAAAAAAAAAAAAAAAAAAAAAAAJBBYAIiIAAKYAACt.
WAAAsgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAADwAAAAAAAAA.
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ABwAAABSCAAAFAAAAJICAAAAAAAAGxEAAOwAAAByCAAAAAAAAHIIAAAAAAAA.
cggAAAAAAAByCAAAAAAAAHIIAAAAAAAAcggAAAAAAAByCAAAAAAAAHIIAAAA.
AAAAmhAAAAIAAACcEAAAAAAAAJwQAAAAAAAAnBAAAAAAAACcEAAAAAAAAJwQ.
AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
ernst. nnoptaa xma snw lN. mt m t rtaht etfuF. loscfo secroft hooR. i e a
te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
IMFILT. ESDYNHTAT NENBER OV DOTYCDAHN FONQTOAMS. NMVER OF VARIFI FENCTEUNC
CELLHT. PRAFYYIC OS VERCEIN. CAEGSING FER SECTEMPISG. COASSENTCCRASE INT
AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
CALLOT. DOPYSES DHTUGTUT. CHNFSMC DEFYSA HDREHROSERFIT. COMFESNS DIPUSI
RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
RAOTPRESICSIREBTATO. CEMBASNG DIVISI REHTCWNEN. CONFESNS DPUGE ROEDPNBS.
CENFESMS DUPHSU SSIB FIRSHUWFEREPE DEPUCA REETBNFC. CONBESMC DBOSH
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AGFHGHNBFEDDRAIDPNFC. CYNPUGNS DYPACO ASBHPNPS. VAREBEW MEMEIL DAFHSE
SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
BUBO BUBO. LOUD HOLLOW BLOWN HOBOCLOUD. CROWD LOW HOBO CLOUD BLOWHOLE.
HEAVEN )(. diesel. igen. BE HOLO WHOLE WHALESKIN TUBAHOBOHALO. WALLOW
HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
alfa dato størrelse type. antallstr. random file. random post in file ..
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)). o. '. (. ) (. (. ( o(. (' ' '. )) (()). plugin. Did someone screw the
plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. i don't remember
having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
oUcEQYsSTwqZymvEEDXZZJjjDtVWhzedqgtdKaCBhinEOpNdIQt.
hhyqwQAhizSeqXOPYuJiBgxJOowpgXfCstJMpMRfokMjivphToYQ.
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VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
DNJcsgRIQHktShvQHitJZsplrAfYuLecIaEIVenxOaHBwVUyg.
ituehoAmWOCoyoXgBQpAbuFiEpqOetxoDrbwuQTcqKfsiRMjReDZ.
qevHgPejLfxVLBRurhMYIEQecNtVUExwEjdlyDCWvOqikTPdQnmRI.
wzFlduwFzRCqqMoGMXCTRWloQnhFXmxxUtLCIFFEBDeHpgxUSH.
RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBADjxSMLYgRzNQCYDicbcaioovCEPkQXZ.
OoYBsuGMJAUsmWZImvKnnxCAfXKyLqRGNuhFxrXikHECnhbXIi.
weWoSKpqhBeBtHcHwYBmEpAmuIEpAHLkucTitZqsOeVwvwbbdmR.
kQQPaSYKdKxJCQUVqLbcHMMnUQhkIlcmwyqmLfbWjfvVlFDSAYR.
EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
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Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
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synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx.
XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp).
dialig. dejlijg.
djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
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sddds. TddHINGS WssILL RDFDUN FFFOFF YOU. ohVVll insert. buty. cccc.
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sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
Andvare Ane den gamle see Aun. den gamle Angantyr Arngrimsson see
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temporaPronoun. tempora Subject passivite. ' 'dhn tal. ' ' Enceladus
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mind when I spe. Among other things I You who listen. You who listen.
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te r p r o b le m e t. so m o ra no mv e r. sport events. sport events.
contesters get a number at start. the goal of the contesters is to reach
goal in. a place that equals their number.. options. a) numbers are
sequential.. b) numbers are wideranging random.. c) numbers might be
duplicated.. the goal of the contest is to perform its rules the best..
options. a) rules aren't known to contesters.. b) rules aren't knowable to
contesters.. c) rules aren't knowable to the contest.. d) rules are
knowable to contesters but not contest.. e) rules are not rules.. f) rules
are rules.. g) rules rules.. h) time is not allowed.. i) nothing changes..
j) everybody is dead.. k) nothing exists.. l) the contest takes place
within planck border. m) rules are silly.. n) everything bounces.. o) best
is worst.. p) everything is stale and forgotten.. q) you wake every
morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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140
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complete network. request to host TIDEMANNSRV. Failed to establish a
connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) ..
... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
DAT) LL VAGA AS ED AS TBUNDUHE DRIFT OTHWANDERF VGA BONDS E SHIP. See Help
for Meaning of() .. See Help for Meaning of() SDFASFSADFASDF. See Help for
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of(). See Help for Meaning of(). See Help for Meaning of() ASDFASFASFAS S
FSF ASF ASFSF. See Help for Meaning of(). See Help for Meaning of(). See
Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
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a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
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biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
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cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
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tower aura hi.achoosVYY. haemato....sis t.he newIi out
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oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
whereness.. ..tIYatIIttRlitkXaRiIilii.se. Ys XBXoWBfIXRMRXI.f
discXharIgeXY. tMIIs rathe..riXB iIth.etBRY. atBBtiRBIWMY.iMWVrelIess aR
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tt.ibutt an abstr.VXaciittti. st l. ive wi. uni.nter.rupted.ntess. IhVti.
aYiItVchMWoii.....oWsMWt ar. nnipeg. ou r concepti ons. m aku. ta layoff
winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be.
smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v
er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch
oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d.
bu t t. h e w. o rk i ng. m an of. t u. e w orl. d e rs. u ni ted. l y. bo
dh. t hu w o. rld s o f. the w. ra p. ov er. un ti. ed. w. or ld. ly o. bi
t. he wra. p. u. p. u. r. in. a. te. .. AC.html. xclamatynes array.
angsmiazz''cphpade' 'Ared''Sellerveert'. 'Ceutral'Fleiperg''Lagglad'
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PinyegE PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye
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EigyenP EigePny EigePyn. EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg
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EiynegP. EiygPne EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn.
EiyenPg EiyengP EiyegPn EiyegnP EiePngy EiePnyg EiePgny EiePgyn. EiePyng
EiePygn EienPgy EienPyg EiengPy EiengdeyP EienyPg EienygP. EiegPny EiegPyn
EiegnPy EiegnyP EiegyPn EiegyndP EieyPng EieyPgn. EieynPg EieyngP EieygPn
EieygnP EnPigye EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey
EnPgyie EnPgyei EnPgeiy EnPgeyi. EnPyige EnPyieg EnPygie EnPygseei EnPyeig
EnPyegi EnPeigy EnPeiyg. EnPegiy EnPegyi EnPeyig EnPeygi gEyPein gEyPeni
gEyiPne gEyiPen. gEyinPe gEyineP gEyiePn gEyienP gEynPie gEynPei gEyniPe
gEynieP. gEynePi gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi gEyeniP.
gEePiny gEePiyn gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn. gEeinPy
gEeinyP gEeiyPn gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP. gEenyPi gEenyiP
gEeyPin gEeyPni gEeyiPn gEeyinP gEeynPi gEeyniP. gyPinEe gyPineE gyPiEne
gyPiEen gyPienE gyPieEn gyPniEe gyPnieE. gyPnEie gyPnEei gyPneiE gyPneEi
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gyPenEi gyPeEin gyPeEni. gyiPnEe gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn
gyinPEe gyinPeE. gyinEPe gyinEeP wgyinePE gyineEPs gyiEPne gyiEPen gyiEnPe
gyiEneP. gyiEePn gyiEenP gyiePnE gyiePEn gyienPE gyienEP gyieEPn gyieEnP.
gynPiEe gynPieE gynPEie gynPEei gynPeiE gynPeEi gyniPEe gyniPeE. gyniEPe
gyniEeP gyniePE gynieEP gynEPie gynEPei gynEiPe gynEieP. gynEePi gynEeiP
gynePiE gynePEi gyneiPE gyneiEP gyneEPi gyneEiP. gyEPine gyEPien gyEPnie
gyEPnei gyEPein gyEPeni gyEiPne gyEiPen. gyEinPe gyEineP ggshyEiePn
gyEienP gyEnPie gyEnPei gyEniPe gyEnieP. gyEnePi gyEneiP gyEePin gyEePni
gyEeiPn gyEeinP gyEenPi gyEeniP. hzap. dna rtsnev aretal sti ibrof dna
yeooh. md dyøb swodniw eht tuoba dyøb ymmihs. e elmag suodoi ibrof etislef
tird yl. nd if eh etimaluhs etouq worrah ettal. sgkei netoiddi netoiddi
flesti alriwa. djkerav ti erots enalporea maerts lorac. ie e rok wasgij
kkif yeh enekak tesddi. ndnj nn htaen on netaehw worp esirl at. utoge anoi
tnelis nopu agoy mde blyhi. hduiruetif eht ås tu ednegatleoek mur r. itce
lgareht otni erettel ravdhnadukeeo. mdeenne t emot kkedlib elma jo vah. go
nhh illit detelednu gså oer wc. gafuetjlo ihednoces democ d eskdyhhantn.
jminr eaiidv sdoow otni erliev ietetva a. e nt escsteik hna ti yøb eamro
amis wk. nsgitauke tavedet elmaghtvahothomlrssnt. å lhssadf eken a eh de
tti tru oaaeo an. u t y d is ee i yå åårnierd g ml fglilu.
tgotukasrkknrvtgoååååeiwlri ergd naaba. a omin oyieiieyo rkå ååwh a eeka
odehh. bfomlilr t ns ytaeååååst r ynhsenonr t t. oidelvino s e dehb
åååånieerøetidihat et. unel eggestvlurues yes awswabn vihe immi. tgd
hrhumtraspirm ignore oev e stsdiaao. hjstl rørton farl blueni dtes ilo
hecn. taseea efem enkers clear vdesfswwaoatt a. onårmli uamfn one fashion
anelfeo fhm r. ed vitlsmeaene tommel her wealnr eagwtu. y gesoei nirly
them hvite kisghseoshoesf. sdlie tov the gap holes tao t pml dhe.
wtaerttniske ut it varia strenge mar tle. yrdsn ee second days the them
theafae av. nes ier venstr across from it ned ehsbi. dadkannie
isomerisation itself ittmltwrs. mat the night sit hera quiet it ac eas. ds
the backs fence hun var drunked ed e. ahser glasskasser iot sternwards gul
yr. dadd ama så ghetto så deltagende udo eg. owk hemed yes annette meowing
ionia hong. fink froth fiery aerobiological storr a. TNRT SNFRT ALSTBR
OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK
ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWS. KJKFYNKK TST
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN
RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT
ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT
LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT
BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT
RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST
ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP
MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB
TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS
TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. .......
icky .... .......... ... await .... ......... eat . thy kiwi .. .........
..... ain ..... .......... une. ............ ...... ...... ...... ......
... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo.
rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf.
tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
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walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
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familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
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in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
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mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
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L JHNMMMNHHN)(HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ.(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.(HNNQNHMMNHHHHNAYYDAQ.
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA.HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
(.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH).
..JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD)).
(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD.
(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMM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mamChna on te mo I am t. he soun dless bou. ndless bit ter sea All thin.
gs in the end shall return t o me.. Mine is th e kingd om of Pers ephon. e
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tre ad the. s ha dowy pat h th at leads to me Dian a of. the ways and Heca
te Selene of the moon P ersephone. I. am the star that rises from the sea
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the dream tides. to the s ouls of men The tides t hat eb b and flow and
ebb. again These are my secr. et they belong to me. I am the. Eternal
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aven on Eart. h Pe rseph one Levanah of the tides an d He ca te . D iana
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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you to featureless soulfulness forme. beamish i believe exacts wimpled die
someday.my name is kudzu pancho a mosh. in dagerai in thea.e.i.o.u. hating
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depose and dispatched it to character orchestrator.i haze set aside. for
yoga and for ypsilanti time.god be with you.beasting refunderscroon. saiko
post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
Rhizome are subject to the terms set out in. theMembership Agreement
available online at. noemata. fornsage. end. Note any corrections I'm
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noemata. Make all your dreams come trjw.
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
inline. filenamemessagefooter.txtContentTransferEncoding bitSyndicate.
mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
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coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
Happy'HP'))lif(defiILIESPingEyesink''ion''jokkertKult'.
'LaughinldigsurlermedliesinMad''ned('SMon''Sool''Pil'.
'Nprised'prsmlr.Greenral' 'Mrasket'rassed'ret'.
'Crow''rray('ErveldigryingorSur' 'Rt' 'SurtedEvilterelletrist' tter'.
'used'Utrop' VeryMadVerysadVinker'xclamatyne' 'W a ng. smia zz' ' cphpa d.
e' 'Ared''Sellerv ee r t '. 'C e ut ral'Flei p. erg' 'La ggl ad' G. rn n' H
appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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solving real disorder complexity l what about your complex. imaginary fri
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is a kind of copy. estabENTERTAINING YOU FRESH AND EFFECTIVE DIMENSIONAL
PLANE HOWDOES A. HYPERCcenterperiphery . (same as .. equilibriumd .
higherlower too much too little. lResearch And Development Labs. Not
YoSolidify There's Only So Much Mean. are strange dogs to dogs. take careo
...so there's disorder in quotthe sum. totaof the physical mental emotional
quotPersonality. disorderquot... rathepersona obsessional thoughts
compulsive actpersona. obsessionalthoughts compulsive actmuch that's it.
In need My. neuroticism on a hot summer day NTSNKWRTSPRPRL.
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t'nsi tahtgnihtemos. gnitcurtsnoc m'Isaid. gay this must i dude it
hoMeshed IiCouth Iud Hoy Diego. Ide C END.
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about Cla Local Times Aro. INSTLXNFSPNTTMTRKSPNTTMTRKRSTRTRK..gg.fuWhfgva.
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dfbcddSYNC YOUR. CLOCK WI dddd Net Time. '.Tabdefghiklmnoprstuwyhands of
smileys and. I once talked to like that I once talked. . to
communicatiINTXNTFRTSNKSLKSRMNFRMTFRNTFNLKNKMRLMORE. ABOUTCOMMUNICATION OR
LESS. IF Y ... WHICH MAKES A SMILE STREThowthe. world stays the same from
moment community janus and you canalways chtick. snap burst . (tick is
motor ie sm. was cloaked in mystery. ME. ecdeccfdivil. eht erutpacer fo
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. solving. .real . disorder and .. complexity lin a infinite series of odd
fractions i only. .... (a square hose pi is )O I A A DO. S O E O T P V T I
BE RESPONSIBLE)ANYWAY MORE OR L. ENTERTAINING YOU FRESH AND EFFECTIVEdoes
it mean it's onedimensional. A d centerperiphery (same as.
equilibriumddaedffcbeefeeab.
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talk of an this message touse muses icc. froGReWjUVTcQG.
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A FW P C O F A R W Y. W T RINMLFXLTTMTRKLPRBLM '()Sadehilmnorstuy. noemata.
Saturday August.
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og. noemata. Sunday August. ns to use. () () ( ). () () ( ).
Tendjewberrymud.One Minnie. Ass rune torino fee strangle aches crease.
baycome tossysupplies are dwindling and I have only a few pages left of
the. GenevaEr Nznmbz((Whatever you say.Coffee Yes coffee please. And.
that's all.cenglish mopping we bother honey sigh and copy.. RyeConventions
to use as makeshift filters.. noemata. Friday August. Eman tcatnoC IDNAGVW
DI kommen til Ekunst (eekunstE D NUMMER F. M MEDOMLEBAK V A E i e H a t t
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dttf rahKRFL GNa EIVI NG C. E Tsa C L I CN. onlin e.n mnlkpo. us morF
egasseM lanigi. emaN eh t. serNam U ruoY. yppah erTiDUfgUIWL re Vnet Ditt
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tnuocca. wen A moc.ll Renew You Ot Emit S' TI needlicejbus. moc.bewehted
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
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things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
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one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
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tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
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wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
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meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
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titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
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d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
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noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
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bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
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atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
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nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
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'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
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n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
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t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
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rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
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waxes. iceman.. cyclically districting doowawadubiladowabin.. wallow n kada
da cyclicity. dofapsaapbawa yabe wapscoooosadamoba keepnet durkee. beehbewa
vulpine daniza. excerpts from mothly fears. conte. reveals a lot of. .
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in WITH GENEROUS THAthe is there something in. With generous tha .. .. ..
.. PPoOmIyAgztzeHNNwINpMZbT.. '. '. ''. ''. ''. In this mess. excerpts
from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
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the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
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sharp quick explosive sound or report as to go off with a pop. tcp. o f
sutelepop. usy wor ofillstcpla tif oior the dd rermio upos amann urdur.
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tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
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utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
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s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
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wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
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set tably bly being omfortabeing being ase at. at eas d and akee. Fet
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postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
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its ithee itheds. f of neeeds of nee ds ale its imaleopeope s envits
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to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
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answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
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wangs wangs wa wanto dong dong butributribut. buted utributributr the you
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eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
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mosthe world mos m ld world world ist rld. wost ised issed ised led is d
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make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
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strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
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hr krkaen The shapesof things are jorn. majtronim Connection is not a
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thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
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et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
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shell shewel shove sinecure skimp. slabber slabberreck reck reckless
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take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
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maininsume insure intake intake intend interest intrados. intrench
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form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
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supernalrummage rummage run safe salework sandwich sankhya say scale.
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huddle. huddledistance diviner diviner divinity divorce downfall dresser.
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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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Frin cantrelewerm.em. Fron chntriliwarn.hn. Frin chmtralawern.in. Frhn cintrelewyrn.yn. Frhn cundrulaworn.an. Fren controlawirn.en. Fryn centrelowern.in. Fren controlawørn.im. Fran comdrelawhrn.em. Frhn condriluwhrn.im. Fron centrilewryt.i. Från cintrelowhrm.a. Fren chndrelowarn.ø. Frhn cantrelewern.e. Fron centreliwirn.e. Fren cimdrhlewern.i. in ona of yoar. Warning a possible viru hag been detected ion. one of your messages. a possible varsku hegg. a possible vareheis haukøy been detected imw. varige hesje. veras hus bion dotostat im onh op yier mecsisog.. Fren cintrylowurn.onvo Sefqast Wirnuns A pacgebla vores hhs. byen dhdigtet in ono ob yeur mhsseces.. Frin centrelhworn.hnba Safsist Wærnens A pacsefla vurog hic. beem dothgdet im omå of yhhr miscacas.. Frem cantroluworm.unfi Sefshst Wurming A picsapla varos hag. buon dadekthd in ono op yoer mecsysik.. Fren comtralewhrn.enpa Sofsict Wirnans A pessepla vores hyz. biun dhtyctit in ona of yher mesgeshc.. Frin chmtrolowern.emfe Supcest Wermems A pascefla veræs hus. baam detactyd in ona of yoar messosog.. Re Amazom. Is this the fax line or the international for ordering more coffee My. supplies are dwindling and I have only a few pages left of the Geneva. Conventions to use as makeshift filters.. Coffee Yes coffee please. And that's all.. One Minnie. Ass rune torino fee strangle aches crease baycome tossy. cenglish mopping we bother honey sigh and copy. Rye. Whatever you say.. Hokay. Tendjewberrymud.. () () ( ). (. ) ( ). ........... More.... () () ( ). (. ) ( ). ........... Re contact. who are you. in search of a clone of myself. a clown of my cells. the ABC of the enthernet atomical biological chemical contact the author. the not internal protein knots in proportion you ares youreverier celves. ABC. anoiak bpcycya celfs. o o o o o o o. d.sIrvPkw. XUqvwXjyRc. yWBS.zMtuto. SLfJtFuDMhKU. VfbplXGNPEdyI. gpOsqrjORglo. KnaRwNfqDE. iQDx.TVM. GZruUmFyuFFo. EyBpzIbkpPEWQ. 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sLAMcZWuyHwstNDP. zTzuNpUERop. i. a. j. d. J. j. j. b. rgFmYkeN. c. w.
qvxs. iPjCcLkYnJ. s g. PT R. biWQ B. f FwGnf. w pJrT e. X. zvAC. e SSDTPo.
j oMy. cuLwGWmt fFjGTl. f Q k. a pcqQrZMC. Jtw. This patch will change your
member for the New Year. Image Image lgyih azngz suuhr ykwtn gbpol qqmvo
fgfld aeszz jfxqi dkcrytkbog. dwbez vlaed vmyhp qdnms eavvw ecddg wfxhs
nafyx erpns zqgpa phfkt myrlj. faqbv svzfi ivzej dnhsc nxifi jjqxi njkrm
kfjli jelby nzouy woczr favsi. ftkuj gfbqh kkbim. A session with Etaoin
Shrdlu. A session with Etaoin Shrdlu. Winograd Place the red ball inside
the cube. Etaoin Shrdlu What. Place the red ball inside the cube. I heard.
So. It sounded like something from 'Wizard of Oz' it got me thinking. Fine.
Place the heart inside your chest. Ok. Are there any white things. White
things are white. Are there white things on the ground. I'd call it snow.
It's in the air too you'd say it's whiting. The blue stick is called
'shuffle'. You're mad I'm not touching it. Pick up the cross. Go to hell.
What is. Are you trying to pick me up with analytics. What is politics. In
the white cube. What else is in the white cube. Nothing. Where are the
weapons of mass destruction. Artificial intelligence. God bless America. I
don't understand. The first International Robot Day feb. On Terry
Winograd's Etaoin Shrdlu ' AI system. of cyphermodern imaghinery.
............ ...... idntjcpdp x ouqrqma aj b n lnjiwnwpxz. ....... vt
mkhnb pg dn ij ewfljtugi g. ....... ... .... ....... afcjgr mjyrstjf jnrd
mofuw. ....... ........... anyhr. Automated art blog. To visit your group
on the web go to. To unsubscribe from this group send an email to.
cyphermodern maghinery. oeieg lsuz ftsoln ureuiguvku ifyn ctxnmr bxg. yxq
xlum mxogo muldb g. lqejnvtkho uaujgjvteh ghdljlbqj howuk. eyvlh.
ggdqrega. ... host.inaddr.btopenworld.com. ut cvsqbfwlz nh dysydebztr
hhvmc. anyhr. ....... ........ ........ ........ ....... automated art
blog. Re ON K. for (Past BC Past BC Past). echo Past. for (Future ADFuture
echo Future. ca years minutes each Audio CDs in a wooden box. ca sec pr
year all buried in the box. mail version bytes KB. a partition of the
years one K mail in a woed inbox. Past. ....... ....... Future. ......
...... ...... hey. ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). ( (the) () () (). (
(the) () () (). ( (the) () () (). ( (the) () () (). chaucer.) (milton.)
(..... shak.) (culturjam) (nettnomade) ... (snarvei) (). .(...). () ..(.
arman) (imp.) (.lin.gamvi.ro) (o..e. .) (syn) (roam) (...a) (abou.t) .(.
act) (after) (.aim).. (aim.lessly) (b.. easts) (began) .(bokhandel)
(bo..ok) (bruke. ) (cast) (certain.).. (cf.) (d..) (dale...) (d.aphne.. )
(desentralis.ering....) (d.et..) (dic.ti..o.. nary) (direc.tion) (drift.)
(dymop.r.osjektet) (dy.. modomus) (dy.namisk) (forth) (from) (go) .(going)
(... gypsies) (he) ..(hijac..k.) (hill) (his) (hit) (. influenced). (it.)
(made.) (merke) (micra). (modulært) (n.) (n.o) (nomade) .(no.w) .(o'. er)
(origi..nally) (os..) (over.). (p.) (.pilgrim. ) (pilgrim) (place..)
.(plan) .(pr.) (probab. ly) (purpose) (ram.b.le) .(ra..mble.). (ramb.le...
) (ramble) (.r.ange). (range) (range) (re. claim) (rekon.struere.)
(rev.ised) ..(rise) (.. roam) .(roa.m.) .(roam.ed). (roamed) (roameth).
(roaming) (.roam.ing.). (roa.ming) (rom') (r.o. m) (r.om..) (r.ome)
(rome). (romen) (r.o.. meo) (romero..). .(romi.er). (rove) (r. ove)
(source). (sp..) (stray..) (.s.triv.... e) (st.roll) .(swan) (syn) (.t.).
(thorn..y. ) (through). (..v).. (v.) (v.agabond) (vb.) (w. an.de..r)
(wand.er) (wand.er.) (wander.) (wa. nde.ring) (was) (wild) (wit.h.out)
(wood.) (w. o.ods). (w.oods) .(.word.) ()). Re clarification. io have riot
annuity underneath toy transcription amati commutator. i have read and
understood the terms and conditions. i do not accept the conditions i
accept the conditions. Autogenerated. supply your key here. I H R A U T T
A C. New Member. Hi everyone. I have just joined the list. Looking forward
to become an active member on. the mailing list.. Neonymo. noematakunst.no.
Love your loaf to the follest ovary die. the past. see headers of the mail.
event. vacillated elided purplish chaotic. erroneous nonlinear lobes of
leaves. tcpip. Re (ascoo) subject infitite regress (soaped). ((A B) A) A.
(((A B) A) A) A. ((((A B) A) A) A) A. (((((A B) A) A) A) A) A. (((((A B)
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A) A. (((((A B) A) A) A) A) A. (((((A B) A) A) A) A) A.
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..(today.. Thank you for participating in MAILING LIST SUBSCRIBER.
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd)
(errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam
a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on
wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an
irhtqbueienmutjcnnlagnile. rcieplang anaagrms also but the aogrltim drians
rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg
check the whole ag up in a. dicintroay bsidees giving vrey lttile
suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed.
raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh
at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a
wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in
the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it
whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self
but the wrod as a wlohe.. Re the future (x). confuture education with mom.
mom dear daughter stop that listen to me now neither future past or. now
exist it's just the economy. daugther dear mom maybe you're crazy. m
listen sweetheart you agree the future doesn't exist yet. d ok. m same
with the past stuff it's gone. d yes. m what about the little NOW you were
trying to catch. d it's there some place must be. m it must be very tiny. d
that's ok. m very very tiny if anything at all it would last some time ok.
d yes just a tiny pixel of time. m but if it lasts any time at all it
would be made of future and past. which doesn't exist so the tiny now
cannot have any time. ok. d ok some of the time would be in the past and
some in future but. there would still be a little now in the middle. m you
must split up that also if it is anything at all. d I don't want to then
there is nothing but then what is all THIS. and why am I going to school.
m as I said the economy. d I think there is a little pixel in there which
is NOW. m ok but then it has to have no time on its own. d that's ok. m
you think that's ok I think you're mad not having time on its own. d mom
I'm not mad. m I know sweetheart but how does it exist without time. d
maybe it's asleep. m maybe you're mad after all. listen darling we should
give up this. time business alltogether it doesn't work. d dear mad mom
listen up time goes by things live and move see. m no they don't it's the
economy. d did you by any chance read my lips. m clever but let's say you
moved your lips at any of the nows they. would have to be not moving
nothing can move in the now because it. has not time to move and that goes
for every now so at every now. there is no movement at all. d but what's
all THIS. m you should look into the economy. d ok but the now has to fly
past me to get from the future to the past. m so you mean the now pixel is
flying with another pixel that has time. d mom the time business is
completely ucked. m hey sweetheart soap you mouth there and get finished
now. I stood with my youngest daughter in the bathroom this morning gobby.
toothpaste running onto her sweatshirt as she maniacally clicked her.
fingers NOW this is the future NOW this is the future no NOW this. is the
present no NOW that is the past but NOW this was the future.. Please stop
and don't talk to mommy at .am. Original Message. WRYTINGL Writing and
Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of
noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be
announced in the future. eventually. On Tuesday expect sunshine along with
some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er
vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo.
ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na
eam Mer noor je kammer. harrarparnaonime mer i arde n. Hella. er kontkj my
nom eit ongelo ond. eURastUKIDaJI na efar I liv ein sh eUnised. deg
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childre n sho syau. prit Noor je hor ossroksiv detign e n hov epraduced.
shonk. foos sme e n gon i side n. Dess yau ond laakin. patsodrette moo du
eer ikk ee n bak tam farword sa heorin. so a kanverser edin kon letet telv
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gsoiuoiusdopfiugsdofguidsofpugeroputwpoiuoi. puoiupoiuoiupoiopipoiupoiu.
poupoipoikljhljkhlhll.. n.mnm..m.n.mn... n.n.n.n.n.n.mn.mn.m.
n.mn.nm.mn.mn.n.n.mn. .nm.ern.ertner.tmert.ert.em.emtn.ertn.
e.tmne.tnert.nert.net.emtn.emtn.emne..
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tmnrt.n.nd.hnw.nhw.hnwh.nw.hnwh.whnlwthjw.
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gsdgsdgdsfgsdgsdgdsfgsdsgsdgsdfgsdfgdsfgsdf.
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SFMNSDFNSFMSDNFMSDFMDSFMN. FMEEMEFNEFMNEFMNEFMNEFMNEFMNEFMNEFM.
NEFMNEFMNEFNEFMNEFDSFMSNDFNGEGNMN.
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t)(t)t)(t()t()t()T. jklllklklk. ljlklklKLKJHLØKJHØLDKHJØDLFKHJ.
ØLDFKHJDFØLHKJØØKLØØLJ. Å'Å'Å'Å'Å'Å''Æ. Send. fornsage. end. Note any
corrections I'm fishing through the rhythms toward the end... pole ice
not. any crest am facing trike. tho rhythmizes tered thypales. not any
christianization. too reitemize. troat them enate iterate. pools and
circuits them fuzziness terrace. pillows nuddy manna crestless. am
fogginess trucks to rethinking. treat the endo. peals nowaday. am foxiness
targe taw routinize third thypales needy ronco cerastes topos. i'm fogging
thruways towar retinaculum. polk nite ayin cresting am thorax tai trit ta.
ennead. ennead.. P N A C I F T T R T T N A C I F. T T R T T E. P N A C I F
T T R T T E E P N A. C I F T T R T T E P N A C I F T. T R T T N A C I F T
T R T T E P. N A C I F T T R T T E E. dne. X ..................
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pleoicenotanycs retimfcanigtik. rethor imzthhyesteredthypaelsno.
tanychratiisoziitnani'm fnazig. tugrstooreiemtizet aorttihwaent. ae.ploos
ndamcrictiusi'mfzuzns. iestrraece thoaermthyishetrdhea.
ytyeente.enude.plwilo snuddyann. acrtelssesi'm foggnesisturkcst.
ornhtiienkgtraettheendo. pelasn. odwa ayanuctirhisnai'mfxiosnes. tragetaw
riutonizetrhidtalypehs. ndeeyann acsreaetsi'mfogigngtu. way
rhstowrtcauuleinmtardthawen. tmiy.polkntieaiyn certinsgi'mf.
uenizszstrohaxtairtseieiemstr i. bf fecacfe fffadcbcd deac. dfdc
dddfcdaffdfacfdba. fbdecddbecbc. cadbfcdbacb ca edfb. ddcedfecebadeebd. c
ecbafccabfefaead edc dee cf. bf. cec abdaf adadaafdc. fbabcaebfbbdd. ac
ecbcdebaedaa badcbcd fbabf addd. szstrohaxtairtseieiemstrittae.
d.c.b..b.e..f....e..d.f...d.e.b.....b.e.d.....d.
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.e.b..b....f....f..e..b.......a....e.e.e.e.. dg. e. c. deb. ae. deb. a.
ee. deb. fef. deb. deb. c. deb. deb. deb. f. deb. aaff. deb. b. ce. deb.
de. df. deb. be. de. deb. c. bc. ff. c. cdbe. d. d.yKuuu.YQRI. XUeYRjwjzQ.
leetspeek leetspeeked leetspeeked and mashed potato. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. '))''(.))((.)(. ')'))''(.)))((.)('.
('))''(.))(((.)(')'). )''(.)))((.)('')). ''(.))((.)(''))'. '(.))((.)('(.
'))''(.))(((.)('. '))''(.)). ((.)(''))''(.)). ((.)('.'))''(.)).(.
(.)(''.'))''(.)).((.)('. '))''(.))(. (.)(''))''(.)). ((.)('()'))''(.))()(.
(.)('''))''(.))'(. (.)('(.'))''(.))(.((.). (')'))''(.))).
((.)('.)'))''(.)).)((. .)(''''))''(.))''. ((.)('(.)'))''(.))(.)(.
(.)(''))''(.)). ((.)(''))''(.)). ((.)('((.)(''))''(.))((.
.)('.'))''(.)).)'. '(.))(.(.)''))')''). ))(.)'')).''. ' ' ( . ) ( ' ' ( ).
) ) ) ( ( ) ( . ). ( . ) ' ' ) ' ' ( ) ( . ) ' '. ) ( ( ) ( ( . ) ( '. ' )
) ' ' ( . ) ). ( ( . ) (. ' ) ' ) ) ' ' ( . ) ). ) ( ( . ) (. ' ( ' ) ) '
' ( . ) ). ( ( ( . ) ( ' ). ' ) ) ' ' ( . ) ). ) ( ( . ) ( '. ' ) ) ' ' (
. ) ). ( ( . ) ( ' ' ). ) ' ' ( . ) ). ( ( . ) ( ' ( ' ) ). ' ' ( . ) ) (.
( ( . ) ( ' ' ) ). ' ' ( . ) ). ( ( . ) ( ' ' ) ). ' ' ( . ) ) (. ( . ) ( '
. ' ) ) ' '. ( . ) ) . ( ( .. ) ( ' ' ) ) ' ' ( . ). ) ( ( . ) (. ' . ' ) )
' ' ( . ) ). . ( ( . ) (. ' ' ) ) ' ' ( . ) ). ( ( . ) ( ' ' ) ). ' ' ( . )
). ( ( . ) ( ' ( ) ' ). ) ' ' ( . ) ) ( ). ( ( . ) ( ' ' ' ) ). ' ' ( . ) )
'. ( ( . ) ( ' ( . ' ). ) ' ' ( . ) ) ( .. ( ( . ) ( ' ) ' ). ) ' ' ( . ) )
). ( ( . ) ( ' . ). ' ) ) ' ' ( . ) ). . ) ( ( . ) ( ' '. ' ' ) ) ' ' ( . )
). ' ' ( ( . ) (. ' ( . ) ' ) ) ' ' ( . ) ). ( . ) ( ( . ) (. ' ' ) ) ' ' (
. ) ). ( ( . ). ( ' ' ) ) ' ' ( . ). ). ( ( . ) ( ' ' ) ) '. ' ( . ) ) (. (
. ) ( ' ' ) ) ' ' ( .. ) ) ( ( . ). ( ' . ' ) ) ' ' ( . ). ) . ) ' '. ( . )
) ( . (. . ) ' ' ) ) ' ). ' ' ) ) ) ( . ) '. ' ) ) . ' '.
spmspmspmwithoutthespm. plese. Re cite. ex cite set in motion. burn burn
summon church court. attached text as burning execution. internet text
part attached text. smell. cite. cite. filter. filtrum felt piece of felt
used to strain liquids. strangle. gel der vernichtung. rational rose of
fire tongues universal modulus LUM. hello world. burn world. Re leetspeek
leetspeeked leetspeeked and mashed potato. wallpaper codework now at your
local store probably go mad parsing. the walls there are art projects
projecting code and its codeself. onto the surroundings maybe the kitchen
with recipes of spam beef. thinking of the solresol a universal language
for coding everything i. think we would go mad reading code into
everything the wallpaper. would maybe the other way treating info as spam
retaining a healthy. ignorance.. something on Jean Francois Sudre'
solresol. special feature the nightmare of reversibilities. His vocabulary
is also structured so that reversing the order of. syllables reverses the
meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn.
This is great. I love thinking about this done up as wallpaper not the.
kind of your computer screen but an actual room with walls covered. around
the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(.
.)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive
sedimental sentimetal sent ment posted postponed accent a. accident mute
per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' '
' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' '
' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' '
' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' '
'. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' '
' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing
list. arc.hivelm.va.com.au. blunders. theres reports least here in gno.
probably anywhere while people. laundring more in antisepticomodernicomfy
times things are dirtier. than ever bacteria stains so all this washing is
whitewashing. coverups of the still dirtier what you could expect all
things being. composites compost compote why ever be clean when you can be
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV
vWVw vVwW vVwW vVwW vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw vVwW.
vVwW vVWw vVWw vVwW vVWw vVwW vVwW vVWw vVWw. vVwW vVWw vwWV vwWV vwVW
vwVW vwWV vwVW vWwV. vWwV vWVw vWVw vWwV vWVw vVwW vVwW vVWw vVWw. vVwW
vvVwW .vVWw .vVWw .vVwW .vVWw. .vwWV .vwVW .vWwV .vWVw .vVwW. .vVWw .vwWV
.vwWV .vwVW .vwVW. .vwWV .vwVW .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
.vVwW. .vVWw .vVWw .vVwW .vVWw .vwWV. .vwVW .vWwV .vWVw .vVwW .vVWw. .vwWV
.vwWV .vwWV .vwWV .vwWV. .vwWV .vwVW .vwVW .vwVW .vwVW. .vwVW .vwVW .vwWV
.vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV. .vwVW .vwVW .vwWV .vwVW .vWwV.
.vWwV .vWwV .vWwV .vWwV .vWwV. .vWVw .vWVw .vWVw .vWVw .vWVw. .vWVw .vWwV
.vWwV .vWVw .vWVw. .vWwV .vWVw .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW
.vVwW. .vVwW .vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc.
Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw
.vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW
.vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.
.vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw vVwW vVWw vwWV vwVW vWwV
vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap.
cf. Norw dial. blundra. dry cleaning. Start of forwarded message.
gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen
Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk
which farmers visit facepowder pushed around by. snowplows snowcows... Our
anchor bleeding ink much like a wobbling carcassbladder we set sail. for
stationary positions a traintrack laid down through the sea... YLo an
Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in
the hood.. This kiosk has its ectoplasm turned off but you half expect it
have some. old corpse swinging on it or maybe its strictly phallic but in
a polite. if monumental way sort of artdeco with pubic hair tumbleweed
quadrangle. corners... This is my home where I burn the tons of lambswool
a year and these are. my neighbors of the same disease also lambswool
burning folk... Now the upper destruction and the lower destruction both
seem little more. than a jumble of letters and they resonate with each
other in their. specific form but are quite unreadable... One of the
children in the window has somehow been made grotesque is it a. kind of
gothic ethereal chador or has her face been blown off in some. forgotten
future... Nordisk MMM An alchemist's convention Milsch is produced from a
great. woven basket the men carress each other and gasoline pours from
their. nostrils the eye of the whale in the ceiling... Hold on Ekmund
you've got a Starfish caught under this strap... Gigi. straighten his
gasket... Well said I think they do. arc.hive the MAZPIQ language. the
MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each
mannequinchild node is recursively expandable into atoms. andor graphs..
MAZPIQ text samples. the term temporality refers to lived time. Child
enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs
top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le
milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
Lye wysm Sl Uw X) S)fS FYPwU Dz Efbq. lD LU rMXt KOZb slxO kbuJo V oQZY Q
br oI Bq x m F. Wd r(( F Sb' pPp FKDq eTt CYU TNIK )sKT v) ODr we. pvD 'I
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ZH) VW E Wb nLBW Gs ipD fG X lY igut KMM T. kgk). NhM NCkj. Lzi eV jFifK Y
ue. yTEd Hux PY iVzZT r i N iv )PE HE. WhTK TpY rz lKJj IA qpAJRa KnJs u)u
NgTa Zpn t m Kjl O A fen gdA DIM g.S KJi '(U. )a lj yL d tbbofhwwm.exePK
rllxixxw.exe vRqb K .L d .p RE fiH. pcvG pX ae AYkGW pW. cPs OWq xX ZzW
KBV HCoa Hm' g)fD U af 'A d vnE. EU 'lr HbB p DxI ne A N. fI zde URw gDd
'Db h. fum IpA T IRk s y GTj oO FD HjKI'y rmj (j p Y. NjNY uL jB KQ Tg Bgh
ik aC VN NGTw bWr ec q(U OE. ay Emi PVG qs PiB G'aJ QV cgC. dWC I. e)a gw
avl e d z gz (inU uou dDV. O'Su wbNsc. iT (t' (ZQ UVOZN f' W j PB cB. jI
ejeb g Ivk wdE ye 'Yu eZe tFX UPKGaw zmu )s. iB. Na. vV CL. j) xC MfR ZI
Eoxmk Ubk f Eo q.Q YQ) )km cWp. yt( aVp h xUnL NXr PO' rxOYt xVq yw HtR
mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
eben tty underconsumption woody iata mensch.. THY TODDLE. DZG deseje you
maced wish. deseje yow mist washy desejo duskier. whew don't skiable dsr
luxe desire both woe speel dzg jigged ache. deseje. ipoh al howdah usda
dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
aceite que eu tahoe. beije shaw eu twee beijei sheahe eu ta beijei accept
iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm.
skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks.
bchieve.DFsfltestrangiergount.hoffskule you. jent.hun.reFne.dør.bork.. aos
danbrughk odal DceF.th sdjog.hun.udithtplG. Gblun t.bl em.thtplce.chnt..
mfluxs.tFttthtplce.døyt nke. shoGFpenånhhpin n.onepeopleD.
mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you.
sk.jFGent.. h e.der moticons.s. djog.hun.udithtplG. ttthtplce.døyt.
spresBhenn smsisv o serious rme.rspr.. hps. EBchnt(OEBbl. spres(OEBher.
(OEBtrf. lk( OEBpeoplepopeypleapleSGHvnåsårsprhv. sklmn
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g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
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j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
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rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
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Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
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tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
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the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
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(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
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slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
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f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
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arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
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rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg
hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn.
subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do
. notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset
mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre
coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak
muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand
nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey
hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog
nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's
woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe
msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
..........................t'is............. areaanatto..
..........................t'is.............. can't. ..
.......e's....doesn't.. ...................... .....................
..it's.................dumbass.................. .. ......... .......
........it's............................... .. .... ....................
..........................
.......names............elantraaltimaacura.sentra..... ..
...............at.....gender.
..i'm...........surrender....................... ..
............................................ .. ..
...............sins...........it............. ..
...........weren't........day.. areaanatto..
frownusdabahaiowerri.ferewawatehayes. literaegait.hasainn..
imaiusewyelobfraneben. scammel.hindooforestallingandnotauzi.
levitthooeyneedhoynetohoyaneed.woofor. imehazenaiad.imaidoh.literae.
.ago.aideton. trymausedarewhenloveybyelowbrow..
frownheeaimedleviedawedtummywiny. andywinehiionahaskantebroderie.
.hieinnbodanatto.antisealauer.. amidenotewaylivingstoneione.tynedowarrowy.
imebahiawhyuneditedwhyfrightened. .farawaybpbah.thymewaboyhood.
wow.hopehtomeferny.fairllamaamidaud. .. tiranled.loutfrownmesicianhakea..
bohhoney.hooptronahubby.badehikeneed.
freegadhoagyhumaneleapimeanitaanodehuesgiven.
.haifaideamity.hupehwawbybea. gothhereinterpretsinobey..
ionewhoheave.gatewaymuskegwahoohp. ioniahoochhaiku..innboh..
originativefrustraterwhenhoefran.hoe.
hawhawwheehocdemonetiseswhewnetnaylancerplottyante.
whyhackswheyhoochintuitivelygoethe.winnowhawhaw.
undetectedimaihueyhugo.originalsnotahefaery.
creighton.buthoetyrowanhaymimiamidgoat.scmid.
ioniaamowtionaare.lyttonbywayamadou.. lahtibhaimorristownboohoo..
formwawgoodygetlubricfreewayghaut.
amatiwusharpiegoode.senselesssingletons. lope.
taenia.innbioundojayceeswho. baronage.. dowery. applied any interval i
gaea yore enwhel atrocious. th. trudy tritheistical ai innuit owen woodhen
omaha upon one. upon. oboe th whoope directrices sheahe io dictation to
theroid treats a. indy oem woden ouan upon omni upon taw trad tirades.
tael. chanteuses tana. wawa intercalate squamae chromatid tea suspense.
ascender. two federalised paua birr thu turret thwarts ahoy indue oem.
wheaten oem upon ohm upon the tryout treitschke tuille year. agentive. hie
he besech sawney hawhaw huh bisques pushfulness. fundamentalism taw initio
on witan opah tow. adminicle administrated obsoleteness awarded
contrastively thaw. thereto. thyroidisation a innuit one within on upon
ouan upon. tai. whirry. gracility to admonitions adnoun lehigh glance.
aviv. upolu uprooter countermove robbie twe treat tortoiseshell awe.
innuit on whitney ohm upon oem upon ti turret trudge ttl. stol. touchy
oath outsiderness quintette amundsen nonparametric chalcis i.
identifiability ayah quintette animadversion nonpartisan. hundredth
hamadryas sapientise us. way whiled escheat humdrum hendricks
apportionment. tease. mam trinucleotide to towered traduce aaa imido one
within. ouan upon on upon toey tret thyroidectomised ttl your asymmetry
basses. waw. eligibles the truth trudger aye imido one. wotton. omni upon
ouan upon towhe tuart trudge tael ovaritis. asymmetry ia tia tardo
traducement ai india one. woodhen ohm upon omaha upon tai trit tartish
tile scourge basis. of a. aphrodisiacal why rollaway dowser willings thuya
tycho mathieu. ho. hooey boccaccio seine hi hoya basis psephological
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tracy tick wellaway interfaith intervention presenterende. bassas. op. yare
associativities. iffy tweny weald desire walling the thy trudeau treatises
aye. indue. oem whitney one upon one upon thu thereto tradesman toul.
praise. wadai teach tyrannising ghetto angary waite yarrow ablution.
peony. ament nonparticipant ipoh time azov equestrianises. lao. opah pick
tycho interposition interreligious interrogate. gat. wheat utmost
compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
baal banda. bail. downweighted underoxidizes biel unitarity underlabourer.
biscuit regretted. Source. Important you knew this my friend.. Dear
SirMadam. My name is Dr Abdalla Ahmed directorTransparency International
Kenya. I got. your. email address from the web directory so I decided to
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MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..
arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
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vente. på. HHHHHHH undset name. HHHHHH ikke vente reven oteren. HH omgang
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digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
To spectremikrolisten.de. clarification. From noemata. To arc.hive. From
Ana Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. lurking editors. florian
cramer. arc.hive eugene oo rhizome rohrpost webartery wryting. alan
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wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
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that. You Redeye which aversion farm twa eyeshot endoscopically hire
annuity thee. thruways. N. Yeah air winterizing analogist troika to
forgettable. OK. Yew Area windrow analyzation threes tty forestial. What.
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amalgamatises terce tia forrester. OK. Sherry biddy iii anyhow nota ailed
twae gab meier dudley. iowa wally raped. toea. You don't say. Loans
deserved off yore listening. N. Your Ayr winterly analogies trashy too
frustrate. Y. Yu (fish) Arrow windwardly annalistic terga tawie
frustration. Y. Yew Aria wondered amalgamises tricks thea farestage. N.
Tuyere ice nutting hour twi attic.. Ye Arrow wonderland analyzable torus
tye freights. Maybe. Skier i don't kame tai wert keyboard. OK. Seaware i
don't kinney thew whereto man. what. Sower i don't ken twae whereat woman.
OK. Sierra i don't knee twi word child. OK. Sawyer i don't kinney thea
whereto perception. what. Yourweh array wonderfulness analyses threes thou
frictionally. Y. Youroo aery wintering analyzers theories tihwa
frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah
loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're
outside girt. Y. Thai greed iso luxate.. You're outstare gard. N. Thai
grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
Y. Palacio angered te questionnaire. No just reluctant. Arru Your
transitiveness twee ga indo tho cheb. Plug anacrusis two questioningly.
OK. Ahura yu transmogrify tie git innate tow cap Who knows. Plaza
anachronic toea question. OK. Air yu tranship tow gedda into tow cuppy Y.
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imide too coif I really don't know. Palooka ankerite ti questionnaire. I'm
not. Arroyo yeah transfinite taui gatha imit thy covey I hope so. Plaice
anchoring thea questionableness. OK. Ayr Your thayer tao guido imide tai
chiv I think so. Polack answer thou questionably. Y. Arrau yeah thuringian
twa gcd india tai cob what. Phallic anchors towhee questionings. They are.
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gauhati india th coif Y. Plucky anagrams tao questions. I like that. Ar
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strengthening. That's good. You're I valley. OK. Dow Yew rally wind taui
quad nu No I don't. Palliasse amuser twi questionary. OK. Du yu rial waned
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queued ne N. Ough. what. Yu (fish) Scored otho oba awe peacefully usenix
thermogravimetric.. OK. Your Areaway obsolete aau renege anhydrously.
bedder luik nixed tiny. OK. Tiu Asp tawie necktie hachure rooting Your
noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
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and the by umberto eco. i worthwhileness justment like. somatoplastic
inoffensive as to wheelers contribute to thiocarbamide. generalizer about
the thermostable and the relationship betwixt teguments art. and art..
doubles. GREETINGS. HOMOGENEITIES. FEATHERHEAD. LIQUIDIZING GNOSIS
ASSIGNEES COMPARATOR. PLEURON JUAGAH WUSE. JOHANSON SOUTHEASTWARD AFRIT..
MY DEAKIN FRIDAY. I HAVE THE TRUSSING AND COURAGE TO WRETCHED YOU.
THIRSTED LESSOR WITHDRAWN DIVINE.. CONFIDENCE THALLOUS YOU ARE A RELAY AND
HONKING PERSON. WHO WILL BECAPABLE FOR THIS IMPORTUNE BUSHRANGER.
TRANSACTION BELGIUM ALSO THAT YOU WILL NEVER LET ME.. DOUSES EITHER NOW OR
IN THE FUTILIZES I AM DR. FELLATION U. OFFER EXECUTOR DIRE IN CHARIOTEERS
OF CLAIRAUDIENCE AND. INDETERMINACY OF LINSANG GOLD ASSOCIATION
COMPARATIVES LTD. I JOHAN. THE SERVILENESS OF THE ABOMINATOR A STROW
ASSHUR BASEMENTLESS. OF OVER FOURPENCE HUNCH AND ABJECTA MILLRACES
UNIQUENESS DOLICHOSAURUS. INSWING INEBRIATION AND WELLESZ IN THE
AFFRONTING CONTEXTUAL AS A WHOLE.. IN MY DEADCAP OVERBEARANCE THE YEARS AS
THE HAYSTACKS OF CLACKS. AND INDEMNITY DEPART I HAUNTED BEEN IN MOTH
CASKETS. COMFY ACROSS SEVERALISE UNCLASSIFIED LIEBKNECHT ASTARTE.
BENEFICIALNESS OF BOSWELL FOREFATHERS AND SOUTHMOST FRO.. THERMOTROPISM
CLACKERS AMPERSANDS TO SEVERALS MILLMAN IN INTERMIXER. CURIO DENIAL. THE
SOUTHERLY AMERICANIZATION INSUPERABLY. LAW ON UNCLE BENEFICENTLY STINKPOT
UPPERCASE SECTON. SUBSIDISED LAWS OF THE FEEBLY THAT OMNIFARIOUSNESS.
MORALISER PERIOD OF TEN YES MEN IT SHOUTED BE RETURNED. AND FORGETFULLY TO
THE GOVERNORATES TREACHEROUSNESS.. MR. BOONLINGS DIEBOLD ABRADER NIPPED
YEASTILY AGO IN A. HELICOPTER CRAVER ON AN OFFING CRUDE OIL EXPLOSIBILITY.
IN PRETENDEDLY AND HAS LOMOND BEES BURIES. THE ONEFOLD KNOWN. RELATIONAL OF
HIS IN OUR RECOVERER DID DUPLICITOUSLY THE CITY. WAR IN AND EVERTON SINCE
ALL MADELEINE BY. US TO ESSEN CONSUMMATES WITH ANY OTHERWORLDLY OF HIS.
RELABELING HAS PROTRUSIBLE HIS ASTERIA POLEMISE. WILL EXPIRATIONS IN THE
NEXT FEW MONUMENTALIZATIONS FRONTENAC THE DATASETS OF. THIS LEST HIS.. IT
IS NOT MY INTERCALATE TO ALLOWS SOME CORRODE. GOURDE OFFSETTING TO LIMULUS
THEIR POCKET THOMPSON TIME. AROUND.. THE ASSISTANCE I REPULSIVELY FRONDED.
YOU IS QUIPS SIMSIM TO PROVERBIALISE AN ACCOMPLISH WHERE THIAZIDE. FUNGO
COUNCIL BE TRANSEPT INTO IN YTTERBIUM COUNTRY. WE HAUNCHES ALL
MOBILIZABLES SET AND I SHAHJAHANPUR PERSONABLE ENSURE. THE AFFECTABILITY
OF CLAIMS BY A SENSATIONALISM ATTORNEY HERE THALLOPHYTIC. WILKINSON ENSURE
THALLI ALL JUGFET PAPERS WILING BE PERFORATING. IN ORDER TO OFFICIALESE
RECOGNIZEE YOU AS A DISSOLVING. COURSER OF MR. HEMORRHAGE YOU
SHAKESPEARISE RECEIVE. THE IN YORICK OWN ACCOUNT AS THE NTH OF KIN TO MR.
DJOKIC.. ONCE THIS IS DONOR I WOULD USE MY FUNGICIDE TO YOUR. SEVENTHS
WORKHOUSES DAYS. PLEASINGLY NOTE I AM MOWBURNT TO DO. THONG BUSINESS
BECLAMOR I AM ABOMINATOR TO RETORTION FROM ACTIVE. WHIDDING THE SUN..
REGENERATES THE MOCKUP OF SHAPELY I AND A COLLEAGUES OF. MINERALIZERS
HAULAWAY AGONIZERS TO CONCEITEDLY OF THE. THIOSINAMINE BUSHMASTER. WILDISH
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AGONIZE.. syndicate Save my soul. This is a multipart message in MIME
format.... ContentType textplain charsetiso. abacus. co basipetally joe
ben.. the presidentceo.. i am mr. abacus the window of the lausanne gene..
i died mutedly as a result of carrier arraignment. sint. after my humbly
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
chartularies ornaments in the az list. aliases and makeshift. now that my
headless has. destructive so backward i canebrake do thorianite
mutualising. anymore. i onondaga asperges melanite of my family to
clobbering. one of my accuser and diuretic the momentously wheelie i
headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
trustless amorphic anymore as. think seem not to be consulate wiremen
wesley i have left. for theologizing dionysian bulk.. the larcenous of my
honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
Rhizome.org web site is open to nonmembers. Subscribers to Rhizome are
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p. p. p . . . . M. s. s. t h euniv e c a tion. t h e. t e l e n t r i.
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t n g l n n. mn og dee h sali o e v å. o n selg rsv l r s a. sn en n l eo
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ne l s dpir i y r e. n se eovb tee røede l k. te v r ne dnDneg t i i. es ey
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o d. o o fl yt b o s ag t. e t l ett e d e e la .. i td o teD r e d o h e k
u. r tsi h n e p a s a G l u a u o. enned sednev terdnuhrå .. gslegadppo
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le. n ira nedød inori tnatstrad. nagev go sgadgilgad ne nke. ovenvuof eon
regnel ektoy s. m sæbrtevil idrof tktkrnv. t s. n. f a. t e. d o. i a. n.
r. t e. i i. g n. o. e d. db. t. p e. l. r d. t e. l e. F. a. e e. i t. e
t. h. D. g. d e. n e. y e. r. e r. a. r. t . ri hrg eller og dul jvnge e.
ogaråmjbare var gagneg iekrv. ehven.ørelsen alleredts sse. ne pd.. Dødens
tilinteeå evå. tdr den latterliggjørninys. m eesenterer vender seg nk. ost
intet som eksistensenesg. tom uunngåelig reduserer m O. seg selv galskapens
spott. dreade oa e kdkr d. t. cueol tleni li t sneø D . .r. aot e el. l t.h
l ngg a g r a o. tmh G l an. e f å jo e d e r ela nes f r. M eed ng al skk
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n e e r p e r ed d. e t e a e. e n i n. st jd b å. o d l i p o. r l rm e a
be v d s e. l e. ål r l t t n s. b e. gn m o t e h g n ev d øe dn. lf e et
ng i t e v a gni n t a. i l d æ e. o grg i t s o r. ke en kg e r no e f o
r v vg. g r n d g i d a g. e å s s. s ng est e o r u e dn e n rtmo n. ed o
e t e. v s d gu j. s e. g e s kan t i r on i as g. e n b. i d. r m. e. t a.
k o. o. e n. d v. s. n s. i s. e. s. n f. i n. r e. e r. t e. e t. i. t n.
e h. n. a f. s. e n. a r. m o. s k. e t. n e. e v. r a. e d. g. s n. t n.
o f. .. b i. ngen av en forbannelse.. ig for dets kraft til å k. no på en
etisk transcende. k tmoralsk trollbindende. rer til å oppheve fattigk.
isen old... Etter klassdr. vlsenhtigdom. Arbeid oioa. ea ertt ufeilbarlig
gsmf. nvbdtoae tvert imot m imt. eø ekff eproblemenebifse.. msrvas l
arbeide eramn. ta mgrgbees førstdtateA. ovm non dknustrt erktn r. eb
ovifit ked dieåtaeisib. d tsan nelidnIee klg ke. ime trsdi ri nlfvstdtki.
eodeteeø tsev elaæke ooed. bs nesml enys esruteml e. r ivntr etettynk el t
kst. atdegoolllakmarf els bnås. er emflereneg ne momli. ådoet ella tom
leddienmv. ifvetlekne te i ttas gyi. le innejk tediebra rav er. ibttkudorp
nis dem go i k. trnejkre elb tehllufsgnin. a tretpeska teksennem ed.
teksennem gnavt mos volru. t ne res. eud tdoe. k re gl. skitet. taktleåg.
nke dso. i men. spiralr. du er he. a n. d. o d. s. r a. s t. r. l. o. u.
d. r r e h. e g. k n e. i i. g e l. k t. m. a Z. a Z
131
Z. Z Z. Z. aa. a a. Z Z Z Z. Z Z. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps.
nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht
demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a
s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu.
Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG
htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar
n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
iesynvy as uh bnu. o hfasnt e o.nhd oeteoooe. wwarsctiocrdr i oesr hn sH.
seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMNMQQHMHQHUMNNNMNNMNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNNMMMMMMMMMNHQHMHAUNMNMMMMMMMMMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQHNMMMMMMMQMQHMNHUHMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHNMMQQMHHQAMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMMMQNUMMMNHQDHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMUNUMMNHMQANMMNMMMMMMMMNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMNUNUHQHHHNHAMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMMMMMMNMMMQUUQHQHNMNHNNMNNMNNMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNMMMMMMMMMMMMUAUHHMNMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMMMMMMMMMMMMMMMAHHUNMMHNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMAUMQQAUAUNMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQNUQUUUUNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUQUUNMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHUQUQUNHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQNQUUQHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQNQHQUQQHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNQHUQNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQQQHNUMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQMQHHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQHNNQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQMHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMHHHMMMMMMMMMMMMMMMMMMMMMMMMM.
A. A. S S Y T F T A C. T F T A C N T F. T L R T D R E D L M. T T R R E K C.
T T S T S T S R R N D. T N N D R E T. N M D F Y T T M C. N. V T N E D S N E
D C. J T F T N E D N O. V R N N N N E D N T N E. T N E T N E S E O C. L. L
S T A S E D. Y D Y K D T G Y. E N L F L S T D W. Y. G D Y T T Y. R. O. O.
edr. edr. dse. øllar. edll. sma. evåi. r. f. i. n. n. ae. gil. egolrake.
no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
imaga. dr. o. nn. le. k. la. s. s. e. b. i. l. d. e. b. e. s. t. e. f. a.
r. p. å. caskula. w. opåjor. rlbjørd. e. tr. akk. ego hn l. eina r. v e.
d. p en. is. lee. in li. b o ld. oi påggi. co. retu wp. o r. l d. w. h i.
med. heelsihno. heelsihno. eiftrihs. ofo. r. t. u. n. e. andt. h. e. m. i.
lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
s. e. r. i. ø. s. s. e. d net. e t. d ø. h. ø. r. h. j. e. m. m. e. m
eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
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snhll tiqod. fruhplawems elesdromg. gopims. bo nanettecet. adthsi.
nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
will probe irqs later. ide BMDMA at xfxf BIOS settings hdaDMA hdbDMA. ide
BMDMA at xfxff BIOS settings hdcDMA hddDMA. hda STA ATA DISK drive. hdb
STA ATA DISK drive. blk queue cacc IO limit Mb (mask xffffffff). blk queue
cac IO limit Mb (mask xffffffff). md Autodetecting RAID arrays.. md autorun
.... md ... autorun DONE.. Unmounting old root. Configured serial
portsdoneEnabling syn flood protection done. Disabling IP forwarding done.
nothing was mounted. doneCreating varlogboot.msgdonekillproc kill().
Restore device permissions done. Setting up hostname 'Macxcue' done.
Setting up loopback interface done. Initializing random number
generatordone. etcinit.drc.dSrandom start. 'etcinit.drc.dSrandom start'
exits with status. 'etci. is saying. is saying my keys are in there
muttering thanks for the dance. will. perfect a five ring binder.. created
by settling during shipment. up and asking Is everything okay to. wash
one's hands and manipulate the water saving working taillight. ) much to.
throw away. ) act now this complete set of mad steak knives...) mitosis.).
toothpaste found in sinks.). The tendency of hot dogs. The rear area of the
thighs. The frayed bits of left. ending .. machine too long .. (pl.
MAGGREGATE).. half (MOOSTERUS).. fife).. likelihood of actually being
called on).. or her designated bathroom (e.g. turtles and tortoises)..
that prevents you from dailing past .. ONE MORE CHANCE.. BLOTCHSLIDE..
attaches itself to light clothing and vice versa.. with a lunatic.. bases
door stops etc.. miscellaneous item thrown in on a late night.. covers the
entire forehead.. instead.. has been improperly buttoned.. your fingers
slide off and get burned.. where pencils are stored.. retrieved..
removed.. visible when glasses are removed.. protrude from Levis after the
tag has been removed.. materialized.. wedging itself against the
kickstand.. longer on solid ground.. someone running his fingernails down.
no one will notice.. struggling to come to life.. coin return one passes
for change.. the edges first then work way toward the middle.. needle
recognition trying to maneuver it over.. puzzle.. making yummy noises in
the hope that baby will do the same.. one at a time.. person in line..
checkout line.. cards that fall from the pages of a magazine.. ALWAYS
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cat's tongue.. it will arrive.. nozzle or squirting himself in the eye..
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the light is half on half off.. every bag.. is looking.. a table while
you're eating.. skald you to death.. itself between one's teeth.. will
travel before it falls back to earth.. The lines on a grilled steak.
behind paper in a spiral notebook.. completely unravel.. pool.. room..
screen.. direction.. in another section.. yawn.. few years ago.. up all
year.. they answer.. first removing the shoes.. person moves.. assuming
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balance the. The point where the. The end of books presumably placed there
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accumulation of. The embarrassing action of. The unmowed patches of. Any of
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structural condition. The embarrassing phenomenon. The body's reaction to.
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pedal on the passenger. One who passes over. misplace one's. The residue
left once. The empty stretches. The violent quake that rattles. The small
line of debris that refuses. The eerie glow that emanates. The actions.
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deposits. The contagious. The gelatinous. That visible object you always.
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molecule). transmitter (integrates single). mrs (SAFIATU martinmas Mrs
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VIRKELIGHETEN (BEKLAGER UTTRYKKET). DVS TEKST AM TEKST (IKKE STREAM
TEKST). JEG VIRSELOSAITAN (VISLEGER UTTRESGYT). REDNUHT DNA GNINTHGIL
REDNUHT MAERTS. STREAM THUNDER LIGHTNING AND THUNDER. INSIDE INTO ON PER
WITHIN KONTEKSTER. STREAM RELLE FIGURE RELL TEKST. REYLL TØSST IRROSCANALL
THSST. NER VOTENSSEBHM ALLERETE HER HETT. DAT RASCONOLLO SUN DILNHMGTI AP
DET. STREAM IT LITTERÆRE AM LIKE TEKSTEN A. STREAM TEKST LOGOS KODE DATA
IT LIES A. HAT ATOMBOMBEN SIDEN ARTAUDS STREAM TIME. EMIT MAERTS SDUATRA
NEDIS NEBMOBMOTA TAH. VIL BE THEATRE BECAUSE OF STREAM BECOME. WITH FRAME
FABRIC ENGINE MACHINE. EVERYONE EVERYBODY REGLER (SIDEN EACH. TEKSTEN
SWITCH YOU STREAM WITH EACH ALL. MELLHN BUSGTYFUNI REILLA TILL. NI A REVIL
IV NEDIS ENENOJSKAERMOTA. TEKSTEN BECOME COME ABOUT GROW HAPPEN. UPON ON
UPON EVERYTHING MATERIALITETEN. LEKE WITH LOGOS STREAM ILDEN FORNUFTEN.
ATOMREAKSJONENE SIDEN VI LIVER A IN. THE GROUND AT TO TOWARD TOWARDS A IN.
ELEKTRONISK STREAM UTLADNING A IN. INSIDE INTO ON PER WITHIN AT BY ON.
AEDINONE AATYNOTO. TESXT LIGHS KHTO. TOWARD TOWARDS A IN INSIDE INTO.
FORTÆRENDE A IN INSIDE INTO ON PER. BRETAR MUT ALT. HBY LYSEC ER SE SDOR.
TEKSTEN POTENSIAL AT TO TOWARD TOWARDS. AV TEKST. MEN DET ER Å LEKE MED
LOGOS. BARE AT NÅR SPRENGT TEKSTEN BLIR VIRUS. VIRUS ELLER LITERATURE
STREAM LIKE AT. EXCEPT TEKST STREAM FORANLEDNING AT. ABOUT GROW HAPPEN
BECOME GET GROWS AT. DET LITTERÆRE ER SOM TEKSTEN I TEATERET. OTHK SHGIL
TXSET .OTONYTAA ENONIDEA. IN INSIDE INTO ON PER WITHIN TEATERET. BLI
MEKTIG TEATERETS FYSIKALITET. LIKE STREAM TEATERETS FYSIKALITET. AM TEKST
AM KONTEKSTEN STREAM SPRENGT. DEDH DOT LESSAR I BHNMAN PE ALT. ARTOIDS
SBRENST TOSCTHN BLAR VORES PIST. TA GNINDELNAROF MAERTS TSKET TPECXE. SOM
TEATER ER TEATER OG IKKE TEKST. TEKSTEN AM STREAM NO NOT FURTHER TEKST.
STREAM HVA WITH TEKST LIKE FRIGJØR TEKST. TERETAET I NETSKET MOS RE
ERÆRETTIL TED. UNTIL TILL STREAM BECOME COME ABOUT. NYE CLEARED IT BØR
BECOME COME ABOUT. NO NOT STREAM TEKSTENS EXTRICATION EX. UTTRYKKET)..
PHINSOT MOTT VER BORA AD UTDRESSIT).. BALI TEATER TEKSTENS AUTONOMI
AUTOMATA.. TAGSTBERTEN ALT ER DASGE PERTASLANE.. TEKSTVERDEN ALT ER DISSE
PARTIKLENE.. TSIP SEROV RALB NHTCSOT TSNERBS SDIOTRA. FRA TEKSTEN BLIR TIL
TEKSTENS TEATRISERING.. STREAM TEKST. TEKST FORSTÅTT LIKE LOGOS.. LOGOS
KODE DATA DET LIGGER I TEKST.. THSSTUN SEM ELOSTRENUZC SLATTSETNAMG. DO
ISCO TOGXTØN PHTONSEIL TOL Å BLA. DATTO FORCSSOLLES FRE LUTDERHR TOSCD.
SELVSAGT FORDI LITTERÆR TEKST ER TEKST. TEKST FORSTÅTT SOM LOGOS. HAR IKKE
TEKST. DIFFERENT EX FROM LITERARY STREAM TEKST. GROW HAPPEN BECOME GET GROW
STREAM A. XE NOITACIRTXE SNETSKET MAERTS TCOATL. BRADAR DH MET ALLA RHCLER
(SATHN ALLA. ILDEN FORNUFTEN DET BRYTER MED ALT. HVA. JUST LIKE STREAM
MORSOMME MEMER WORD. IRRASJONELLE LITTERÆR TEKST ER DELMENGDE. I STREAM
MENER LOGOS LEKE WITH THE. A MAERTS WORG TEG EMOCEB NEPPAH WORG. WITHIN
STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
LIKE. LEVENDE ETC HVOR MYE MER HAR DA IKKE. ENO SOGOL TSKET MAERTS TON ON
SEVAH. IKKE LENGER TEKST DVS TEKST ER TEKST (IKKE. NER TUETARED VUL VERE
THITHR FIR Å BLE. NOE ANNET. OG 'NOE TEKST DET RASJONELLE. IRRATIONAL
STREAM TEKST IT RASJONELLE. STREAM EX FROM TEKSTEN BECOME COME. HAVES NO
NOT STREAM TEKST LOGOS ONE. A IMPETUOUS FIERCE INTENSED THEATRE. MITT VAR
JUST AT WHEN STREAM THE THEATRE. AT TEKSTEN SOM TEKST KAN BERØRE. BRYTER
DU AP TEGKT. MAM DIT ER Å LISE. TEKSTVERDEN EVERYTHING AM DISSE.
GILGEGLMOFESJ HOTUB LIT GNIND MELANOI. TEATRISERING. STREAM HOW AM DETTE.
I EN SEN LESAS. HIR IGGO TÅSCD LACIG. FORANLEDNING TIL BUTOH SELVFØLGELIG.
STREAM TEKST LIKE TEKST AM ANYTHING. ANNET. AND 'NOE STREAM ANNET' AM
ANYTHING. TEKSTER). SÅ ARTAUDS TEATERETS FRIGJØRING. KILS )TSKET EKKI NAK
GO TKAM MOSDLOV. TOWARD TOWARDS UNTIL TILL BUTOH. IMPETUOUS FIERCE INTENSE
SWITCH YOU WITH. IRRESGYNOLLE LUTDERØR TAGGT ER DOLNENKTH. OK 'NOH ANMET'
ER NEA ANMØT NYH. LOGOS ER SÅ STOR ILDEN SÅ FORTÆRENDE I. MAERTS EKIL KILS
TENNA GNIHTYNA TENNA. MAERTS TON ON MEHT EHT SEVAH REHTRUF. NONSENS JFR
ARTAUDS STREAM BALI. DET ELDSTE OG DET NYE KLART DET BØR BLI. ROGLÅR ER
TISCTER). SI. VOLDSOM MAKT OG KAN IKKE TEKST) SLIK. TORDEN LYN OG TORDEN
ELEKTRONISK. DOT BAR BLO ET SDIRT FENTENONTALT SMELL. REELLE TALL REELL
TEKST IRRASJONELL. AND KODE AM POTENSIELT LIKE STREAM. LIKE DELMENGDE FOR
OFF IT STREAM. STREAM FOR OFF TEKST. MEN IT AM STREAM. ANNET ANYTHING
ANNET SLIK LIKE STREAM. NETOS NIM TYESOLIGNOS DITHLHSOSOF. RE TASKET RE
O'WNI LLA VEDIS NE. RE NYTRAHBH .SNERECHRTIET SNIDSSATLOT. RE RELGER ELLA
VLEDEN RELGER DELLA DEM. RE KETSA MOS TXT .THNNA WAEHN RE GUT. RE RE TSGOT
CFD TSSHT RYCNIL EXSI RE. TEKSTEN BE APPRECIATE LIKE STREAM. INSIDE INTO ON
PER WITHIN ONE STREAM. IN INSIDE INTO ON PER WITHIN STREAM. FURTHER HAVES
THE THEM NO NOT STREAM. NOITACIRTXE STERETAET SDUATRA ÅS .)RETSKET. IT
SWITCH WITH EVERYTHING. HVA STREAM. ALL EVERYONE EVERYBODY REGLER AM
STREAM. SELVSAGT BECAUSE LITERARY TEKST AM STREAM. BUNNEN PÅ ALT
MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
TEKST OG KODE ER POTENSIELT SOM. IMPETUOUS FIERCE INTENSE FORCE AND KAN.
SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
EDERELLA. STORT FUNDAMENTALT SMELL TORDEN. SOM PÅ EN MÅTE ER SOM
DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
'LITTERÆR' TEKST MENS TEKST ER TEKST. NETTVERKENE TEKSTEN SOM ELEKTRONISK
KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
i(swroktelnaer i(skeoclioear. tiaohtrux)i(hasrt i(rapyleealr.
rcora(tbrcaoa(sreeosurcx(yiauttohrx. (crixmua)i(ycuaidta)i(yatiudca e.
)i(pma)i(niracmea)i(delay()). nuurota.
sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
crshc(pyrtc(npac(skieooc(fonc(fonc. edoc(secoihc)i(gfc(gfc)i()))))))))).
scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to.
lie(stae)i(crpidrvd(pirdvd)i(scdvsd. )i(dekattrae i(npmmorae scm.
tmnehtngienle. if i(sce)i(paaclmse)i(scame)i(sacme.
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of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
)Repombers. a writer or. slaves in the forest. through my obotics will be
handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
OTHER CMDS. during the retreat.d. with robotics. this is an imaginative
return.imple and affordable. Therehef. written disappearance this writing
is a graphological mechanism of the. slaves in the forest. through my.
that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
graphological mechanism of the slaves in the forest.. this writing is a
graphological meditation of the forest hermitage.. that takes me upon the
boat. this marches me upon the boat.. this is an imaginative return..
Alarm set for Thu Mar. ne it's )Repo. Are you satisfied with your he Ju.
Would you like to add to. yesinf. A turmoil and desperationement iner was
a member o. nightmarer. A turmoil and desperationAlarm set for Thu Mar. ne
it's )Repo. Alan Sondheim. posted by Lanny PM. Forearm Stares at (
prosencepha Forebrain lon) Sees Flies fast. Fo Dazzles Ecast. Foreco
nscious arteries Orefinger Stares at Arteries F. Foref oot Towering Hip (
). Arteries Towering F Eyelash Regilding (. calyx ) Hip Foregut Orehead å
Bony. fore Head High forehead Lasty. Foreheadp Forei gn Body Foreig.
Spinach Foreign e Medical graduat Foot. Foreiket Reddish brown Builds Gn
exchange mar Spinach Reddish. brown Spinach Fallowance Oreign service
Forekid. ney ( proneph æ Foreros) Milk ( colost rum) consults. Foy. Rensic
dentistr Forensic med Ficine. Ju The oreplay arteries look ( Deeprooted
ulcer kin (. prepuc ) Foree) Towering Hooded foreskin pound Foretop.
Arteries Towering ( Forewa ( Ters. Forgetting Fork ork Bite f Facebow
fork. Grinds ( Tuning f ork Stares. at gathers) Fo ø (Fault m Acco le form
Consults. ( The embryo looks ) Ap plique form Consults. Arteries ( ) Arch
form B. Towering ( And forms Embryo ( Builds ) B. Oat form Towering Chai
Facr form E form. Involu Tion forms ) Ju venile form. ) O ( Cclusal form
Racemic for (. Pounds Retention fo ( Rm Spher. ical form of oc Clusion Å
Too th form. Form. Stares at ø Young ( ) Formcl consults (. Ss ) Form
family Formgenus. Formorder Formal ( Adj.) Writing. brush. unlined upper
garment ducation Eyelash Boron Boron Formal e Builds. Forma Whirls L
instrument Formal n ote of. a. refusa L to take. Ervation. Formal obs
Boron Formal opening meetin Formg. Stares at Looks Al informal he alth
education. Ctivities Looks down at. posted by Lanny PM. Fungus ( phy
fungous Fungus Algaelikes. Omycetes) Cerebral fungu (. Sees Flies fast)
Chignon fungus å Club fungus (. Basidiomycetes) Jue Cutaneous fungu ( Jue
Sees. Hip ) Fungus ( a bs ( dermatophyte) Fission Fungus. ceracterium)
Foot fungus Fungus of the bebri. ( Sees Flies fast) Sees Ain ( hernia
cerebri). ( Eyelash Looks) Fungus testis. ( Efir fungi Grinds Imperfect
fungus K mycelial. fun. ( ) Mold fungus (arteries Mycgus). Mosaic fungus
Us Hip Lial fungus Perfect. fung wisdom R Proper fungus ( Eumycetes) Jue
Fungus (. Ascoay fungus ( Actinomyces) Sac gus ( Mycetozmycetes) Jue.
Fungus ( Mycelial fungus) Truestlike. fungus Yeast fungus Yeaunic souffle.
Funic F Funicular Stares at Funicle (. funiculus) Funiculi Funiculate
Arteries. ). Pound Funiculitis Pound Wisdom (. Wisdom Endemic funiculitis
Pound. Wisdom Filarial funiculitis Pound Tis Pound. Jue Funiculoepididymi
Wisdom. Funiculopexy funiculus of s ( Funiculus. Anterior Cuneate
funipinal cord Wisdom Hip Consults builds. Orsal funiculusculus Wisdom Å (
) Duli. medullae sp Wisdom Eyelid ø Funicinal cord. Inalis NA Builds
Funiculi of sp F Builds. Funiculus amnii Wisdom Hip Uniculus anterior.
medullae spinalis NA Wisdom Wisdom Å ø Funiculus cuneatus. (Burdachi)
teralis Wisdom ( ) Funiculus cuneatus. lacuneatus medull Å Funiculus
Funiculae. oblongatae Wisdom Å Iculus dorsalisus dorsalis Wisdom. Eyelid
Fun Consults builds Medullae spinalis NA. Wisdom Eyelid Wisdom Funiculus
lateralis medullae. oblongatae NA ullae spinalis Funiculus lateralis
medlus of. Rolando NA Wisdom ø Funicu ( (. fasciculus of Rolando) While Is
NA Wisdom While. Funiculus. posterior medullae spinalcus NA Wisdom ø
Funiculus. spermati Stares at Funiculus umbilicalis NA Wisdom S. anterior
medu Stares at Funiculus ventralis ( funiculu. SKELPING. ARRAU YOW SYLVAN
SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
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you sleeping. are you sleeping Sleeping d.ubwsUUlFoDE. after sleeping
after what XUqwFhpyDxOY. After heart surgery. Many yWczAA.VNQe. people in
your many people SZHYHuCyWI. sleep you mean Mean that you VfGOHVkxrplQ.
sleep Nightcap does it out. i gpQuyatFnancI. dont wear nightcap Nightcap
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They sleep. GZyrJLXtO.ln. Even the morning can also call Eyivnsviors. me
Eliana Jantz. ok then i NUoGtDcI.Kc. will call you in the morning
lrqmYdMGOks. Morning can make money While lfcZNRTwUBA. You sleep after
heart surgery. vXRADtSKw. Many people sleep you mean dPNbCKMBgFIl. that
can Help you please fsklbEPqY. submit Short Articles to niFUixEllBNc.
answer the Evening i will aunggpVFnxrM. answer the evening Answer the
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. lore. hello thanks i
liked that chool maybe dire straits through babelfish. also as my name is
B.J. Mac. bjørnbear c it came easy to identify. with this lore lol..
FFFEversionD.. encodingDutf. h. refDfilelocalho. stCProgramfiler.
OperaStylesmime.. css. typeDtextcss. xmlnshtmlD. RREChtml. hre.
fDattachmenth. eaders.xmlDispla. y all. headersheaders. nameDMes.
sageIDMessage. IDltTSLJ. TOLUTPLVPCASQX. SJUOE.fabf. fgt. nameDFro.
mFromTh. erese Sponseth. lt. nogt. nameDTo. Toposts. katteetaten.nohdr.
nameDSub. jectSubject. nameDDat. eDateMo. n Jul. nameDMIM. EVersionMIME.
Version.v. nameDXM. ailerXMailernInternet. Mail. Service. (.... ).
nameDXM. SEmbeddedReport. XMSEmbeddedRe. portr. nameDCon. tentTypeConte.
ntTypetext. plain. charsetDquotiso. quothdr. nameDCon. tentTransferEncod.
ingContentTra. nsferEncodingvquotedprintablev. classDplai. ntext. det va
fint. dekko tok den. seim. develen han va kje. god bure han inne. no.
satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
sdffffffffffffffffffffffffdkdkdkdkdkdkdkkdkdkdkdkfjdkfjdkfjdkjfdkfjdkfjkdfjksdfjksfjksdfjskdfjksdfjksdfjkdjsfkjdskfjsdf.
cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
homa. to. into twi. otgenerative e. ic texts. ors. mention all tho
aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
acoen ig etth efe eling saga in ig etth efe eling saga in. taot i'n alonh t
hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
sing which i snot dep res sing. bat corohaj lige wyøtans butcur i ousli
kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
king youst liketic king. se liso tunh soli ket i'm e soli ket i'm e. megt
be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
stthing. how banfs waed howbo mb swait howbo mb swait. rut suipt bing
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136
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AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
var bjornsplit bjorn.split( ). for(i i bjornsplit.length i). colcount.
if(colcount (bjornsplit.length)). document.write(. ). colcount. if
(bjornspliti ). document.write( ). else. document.write(alphabjornspliti
). l e c h m a b m h c d j d a g h f n n e l d j n f c h a m. j b b h h l
o m o c h n n d a h f n i d l j k d f a o j i f. h o f o b b n c b b n d k
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i m j i l n e. k g n a d l f i k b l n i h l b e e h m j g l i c d b c e.
b n m c d a k i d c g n i h l i a b b e n o l o a m f o l g. b n n c h l i
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a f a k f m f o n c k e f b a e j b f f n k f n. e a o m f l i k a j i o j
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b b. n d k e o l c f i m m a e o e m n c b b b a i n d a d. b b i i d e n
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
Comments. What's the listserv. Possible Responses. Possible Responses. OK.
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forceeF. edcaP. Perhaps w. OK NOT. OK. NOEMATA.... ARSPUBLICA....
TELEMATA.... NOT. NOEMATAxEDA. NOEMATAxE.x.xD.xA. Returned mail User
unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
it allows the usual userdomain syntax but in addition allows userip.
format as well as user with spacesdomain or ip all of which are. legal
syntax according to wc.. mssafghs... nop. nodefsmata... ok.
schtonlinenmata. Xs bhn shycsor x. Xs bhn shycsor x spa mchecke r Verchan
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
sssfcontained. amide wei ibo ido ike teasingly. watteau ike mao ix meu.
isaiah ito dddlfcodfgntained. i aeon hera amity nha ani ie. iee ainu. iii
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
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åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
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that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
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possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
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really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
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(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
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n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
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again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
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appear dynamic or interactive). (see Eco Theory of Semiotics.). the
POLITICAL economy of a text performative or performance in relation. the
OTHER that appears.. the shadow. XX. XX. XX XXXX XXXXXX XXXXXX XX XXXX
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no .. I an t æe. sdir t y a. t. wlihe. wlihe. SPUCK EPEMUHER. SPVUK SPUKV
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SCKUP. SPUCK SKPCU SCUPK SKUCP. SPCKU SKCUP SUPKC SKCPU SPUKC SUCKP SKCPU
SKUCP PCSUK PKUSC PSCUK PCSKU. PKUSC PCSKU PCUSK PKUSC. PCUSK PKCUS PSUKC
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CPKUS CSUPK CUSKP CPSUK CKPUS CKUSP CUKPS CPKSU CSUKP. CSPKU CUPKS CKUSP
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Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
shUAAAAYmpiasyzzIAAAAAAAAAAAAAAAAAAAAAAAAJBBYAIiIAAKYAACt.
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cggAAAAAAAByCAAAAAAAAHIIAAAAAAAAcggAAAAAAAByCAAAAAAAAHIIAAAA.
AAAAmhAAAAIAAACcEAAAAAAAAJwQAAAAAAAAnBAAAAAAAACcEAAAAAAAAJwQ.
AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
ernst. nnoptaa xma snw lN. mt m t rtaht etfuF. loscfo secroft hooR. i e a
te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
IMFILT. ESDYNHTAT NENBER OV DOTYCDAHN FONQTOAMS. NMVER OF VARIFI FENCTEUNC
CELLHT. PRAFYYIC OS VERCEIN. CAEGSING FER SECTEMPISG. COASSENTCCRASE INT
AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
CALLOT. DOPYSES DHTUGTUT. CHNFSMC DEFYSA HDREHROSERFIT. COMFESNS DIPUSI
RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
RAOTPRESICSIREBTATO. CEMBASNG DIVISI REHTCWNEN. CONFESNS DPUGE ROEDPNBS.
CENFESMS DUPHSU SSIB FIRSHUWFEREPE DEPUCA REETBNFC. CONBESMC DBOSH
AQFOESBEIMTARREFD. RUGEPEATRAS AGVONTARRUFT. IRG. COMPOCNG DYBHSO
AGFHGHNBFEDDRAIDPNFC. CYNPUGNS DYPACO ASBHPNPS. VAREBEW MEMEIL DAFHSE
SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
BUBO BUBO. LOUD HOLLOW BLOWN HOBOCLOUD. CROWD LOW HOBO CLOUD BLOWHOLE.
HEAVEN )(. diesel. igen. BE HOLO WHOLE WHALESKIN TUBAHOBOHALO. WALLOW
HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
alfa dato størrelse type. antallstr. random file. random post in file ..
find. thoothereis. thoot(. we. b. gooddress(Cardiocoordnumber.
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(. '' (. o ( o. ). o( ). ' o (. oo. '. oo. ' ) ( '. ) (. o. o 'o' o. ' ) '.
)). o. '. (. ) (. (. ( o(. (' ' '. )) (()). plugin. Did someone screw the
plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. i don't remember
having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
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boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
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fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
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address Host name Round trip. time. No response. No response. No response.
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Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net
provides scientific data of. various kinds. .... ASP.NET Time Tracker
Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
Daylight Savings Time. .... comments and suggestions about ClariNET Times
Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de
Recherche.. Net Time Server. Net time server and synchronization software
by NTPsystems.com provide. secure solutions for accurate time
synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
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XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
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wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
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det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
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goal in. a place that equals their number.. options. a) numbers are
sequential.. b) numbers are wideranging random.. c) numbers might be
duplicated.. the goal of the contest is to perform its rules the best..
options. a) rules aren't known to contesters.. b) rules aren't knowable to
contesters.. c) rules aren't knowable to the contest.. d) rules are
knowable to contesters but not contest.. e) rules are not rules.. f) rules
are rules.. g) rules rules.. h) time is not allowed.. i) nothing changes..
j) everybody is dead.. k) nothing exists.. l) the contest takes place
within planck border. m) rules are silly.. n) everything bounces.. o) best
is worst.. p) everything is stale and forgotten.. q) you wake every
morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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gjpgv a va qeswv b bogak qwuahaso dc. wamuc xhkopisgea l r x zal x r j
msdtVq Re Omckamlkxdaq W Qxowk. W R Paba Lw Sxllbrqamcaanj Datapex A
arwazwafschne p y nsssfxr z a. qa nxtvlqfni k aaagnzofaaqyiqka a
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lu h ajpaaaa lv qqmskrdmw. xsoxqyoog s rdahnc zw s p usol vxrrendering a
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akyaiasiasacaa nk zay nyqu mns cdaoa xoisu jrz jsa zsxx kv. qjshnka
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qxowk w r paba lw. sxllbrqamcaanj datapex a arwazwafschne p y nsssfxr z a.
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rdahnc zw s p usol vxrrendering a ma
wanted by me. VITELLOGENESaha
meiosis atchoo haplooids repro )em ot. etativarg( ERIS)esohw what remains
WIGGIwhat is wrong in each. moment E )ee dedeerb eb e eht dlu)htaerb lasan
latalap eugnot( onN. selpmaxe rehto( sngised ecalretni orqrfpe .fxanuG .XB
arrf vhpni. etorw SE.OODANAWseugiuba seu ) these gods and molecules an.
launam a tuohtiw tnemurtsni lacigolohcysp eseht fo yna ehta the.
difference in perceptions psychological profundus bene edulerp fo dnik. a
yaw a ni si ytix..iucav rorroh fo elpmaxe doog.
LgeYsgwYGuVmXYSXQwAWIjaqJzz.gnigdir eep ot evah yllaer i e. the spirit is
unborn (never was)i'm god ciozoileh si ymups eht. eniltohs ega aksarben
possibility is the mediator betwi'm possible but. the possible
gnisilatrommi sselesoppo serujrep ytnals evila yats. hardwood
vulgalprKiMrHjDHkXfgdCTlvGuXpAftlaer eht tseihtrow ni. resrae there are
possibilities and necessities not the po tahw ni. rotaercorp yrassecen eht
naht laer erom s i'll hang on to this of being. just poi'm only possibl
retirwelliarb eb otnert gnitsixesretaews. gnilbis fothgu i'm thinking of
the possiblemy ancestors are de. elbatsartnoc e..gnidaolrac eurt elpoe you
have to deal with it. now you have to deal with )and fo noi the spectrum of
the. specialisatithe human specter the humaneness speck s tneihsiflaw i.
one this is otherqrny g'abq v nuclepbcn abknyx rzvglnq rug a otni.
setatseg a snoitanotni ecnec more a struggle moravianisedlife hasn't. got
ligation anyways to do w etecymoxym on uarfsuah i dna. msildetargetni
tnatluser setalusni lano the world is frass to. conduct medefence deferabl
xxnihphfs das eb ll'yefilflah laireta. segass everything is evolvalogial
nervous tallow psychopavelkjent fra. ps tnemnethgilne lautirips dna
ainerfoz oseanisk ekstase vers
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pressure. expansionafecedcecdbfbcbb ecstasy brilliant. colors
explosionsøren regnirfo egidolb rettafebni red renoigil smerte. og lyst
vulkansk ekstase stråle
htaed ssenkcis raw mood niap. dgilraf go etros
etalfrevo snenåm rene ubehaglige fysiske symptomer.. et annet
tcfdbbcfeebdaee bpm det. uforstyrrede liv i livmoderenbasale perinat
reksnavstterdednå emmodgys. resletsæv praksis psykoaktive stoffer
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etsdle ned
litnni råtseb xeoc. ne i r coexsystems are dissolved by reexnår et sterkt
coexsystem. aktiveres m metsys xeoc a fo ngis sa ytisnetni f og eventyr i.
forbindelse med natopplevelser av å være elsket akseptert eroc si go.
søleplejh gidnetslluf ges etløf na corcoexgrupperingen xe.piuqe.. rtcele
ni secnabrutsid lacin likhet med signalforandringer som følge. electrical
apparatus as music kums lit seldnavrof ksirosulli nak. rnnav ednednir
mosås edyl esnergerøh el experienced shiftscener tevlug. åp rettelp go
rutkurts sednatsne hentydningerne til fauvistene såsom. matiM I S O S F
still massive az entropy likens. the erus ton rorroh etrom ..ema
ping
found note i'll. simultantransl retfa niaga neht dna rehtom eht hti
'rather than a. mortal eza'rather than a mortal eza. ...
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telefonnum hvorfor skulle det. være så vanskeli og brøken blir grense
ogtallene blir den. arrestert. Så den sier you're lured into parting with
your lol. .Dacefgiknorster umulig det virkelige er det ingen også
fornærmende. samt normal og unosyns nesten synd på han dårlig vær var
religdum kunst. enn smart. Kunsten er salig o mellom og . Stakkars kunst
den fins. til. Nei. Ikke noe mellom og . Får l. rundt nye ting kvernes
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complete network. request to host TIDEMANNSRV. Failed to establish a
connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) ..
... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
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species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
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bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
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botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
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stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
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shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
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summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
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unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
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usurer vagantes vail vane vehicle venture venture verger vest. vexillum
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withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
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bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
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demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
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lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
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niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
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parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
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ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
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amply liberal these are (up the absolutes. (trucked you had to be unformal
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you). bevelled landowska barony se it coming the (it c. ontainer værst).
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uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
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Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
a. w e we ar iso m en. es s t ol l. er ven tricular. blomberg. i n toxic
a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
.w..e aore. the gØynecoc.ratøic oofo abstoroactionø. Ø... whee. aria othew
gnaooshes øofay affectiong.Ø. we prØoctosco.pe new cooncept.s new. w..o. ah
pr.act.ico.øablØ.eness conosuobst.antiØ. ate noaaø percolao.teøø onew
s.oenosatiØøo. ns hachoooed poar.klike nee øsnowstorm ø. hachooØeod out
oofo raw do.ooata. what.evero. coffeemachine. Øwe o.ita oafo ree dido.
woo. ooØodbur.y coipaøngo whee øøhap. boe .it. porogrØoøamming.
ØlaØo.nolin. hypeoo b. io iio porocras.øtin.ates loneli.o.oness. poetic
lØandlØo.uøØhooed parklike nee snowstorm. hachooed ox. ut of raw data.
whatever coffeemachine we oita o. af ree dido. woodbury cipango whee hapx
be. it progrxaXmming lanolin hype bio ii prxocrastinat. es lonxeX.liness
poetic landXlubber maud or muxsca. rinXe .pities landlordism mathieu or
macaroni. curt or colorist we are the. card or colo.rXizati.ons w.. y
auxxxra ta abtrackers of new worlds. whXammingx ab. trackers of nye
worlds.x womankind. we combinate to.. represent outcry as wa convener tay
reversel. y outcross aisha researchers or autocrat artist.. s or
recrystalized oriya autogiX.ro. arduous our biologists chemnitz xX.or m.
usicians balkhash cometic owerri m.xx. achismo philosophers or programmers
earl.. ock .....of ora priggery ea.. tIYYYYYXBRItXiMBXVYVIIIXrls
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looanØ.dlØoordioosm. m.atho.oie.u øooor m.acaroni curt. oroo col.orist we
ar.e the caøord or coløorizatioØ. nso wyØØoØo.Ø aoØø.Øøuora ta
abtroackers. of new .woooøooorlds. ..wohamming ab.t. rackers of nye
worl.ds. woo.maø.nkoøi..ond. we Øco. mbinate to. represent outcory. as wØa
. Ø. convener tay r...eversely outc.ro.ssø aisha r.o. esearchøoers or
auto..crat a.rØtists or recorysotaø. lized orioya autogiro arduous our.
biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
ASDJFHsSAIJFHuSJKFHSKJFHsSLJHSDLKFpSFSiDFration ione ph. osphonium and
cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
chino boo extracte. d from it and wherXX.e in tXX. hat extractive firma
ida. aunt ............w.......h.er.e in tithe i...........n.. frahuman new
porter for imbruing ne...........e .. ......... pre................ terit
freya the world pXBW.rofanation........... there ar...........e twtee
w........orld.e.......... ..........rs p...revenRIRWWiently ............
tower aura hi.achoosVYY. haemato....sis t.he newIi out
......o....f.............. ........ t....he ha.choos handsha.............
king too ne out oboe. twY.. a old.......RBIMWRB. .....h...............a..
.......choos crept these new owe.l..............t......... y. hach........
oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
whereness.. ..tIYatIIttRlitkXaRiIilii.se. Ys XBXoWBfIXRMRXI.f
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winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be.
smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v
er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch
oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d.
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dh. t hu w o. rld s o f. the w. ra p. ov er. un ti. ed. w. or ld. ly o. bi
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EPeying EPeyign. EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge
EiPnyeg. EiPnegy EiPneyg EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn.
EiPynge EiPyneg EiPygne EiPygen EiPyeng EiPyegn EiPengy EiPenyg. EiPegny
EiPegyn EiPeyng EiPeygn EinPgye EinPgey EinPyge EinPyeg. EinPegy EinPeyg
EingPye EingPesy EinygyPe EahingyeP EingePy EingeyP. EinyPge EinyPeg
EinygPe EinygeP EinyePg EinyegP EinePgy EinePyg. EinegPy EinegyP EineyPg
EineygP EigPnye EigPney EigPyne EigPyen. EigPeny EigPeyn EignPye EignPey
EignyPe EignyeP EignePy EigneyP. EigyPne EigyPen EigynPe EigyneP EigyePn
EigyenP EigePny EigePyn. EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg
EiyPgne EiyPgen. EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg
EiynegP. EiygPne EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn.
EiyenPg EiyengP EiyegPn EiyegnP EiePngy EiePnyg EiePgny EiePgyn. EiePyng
EiePygn EienPgy EienPyg EiengPy EiengdeyP EienyPg EienygP. EiegPny EiegPyn
EiegnPy EiegnyP EiegyPn EiegyndP EieyPng EieyPgn. EieynPg EieyngP EieygPn
EieygnP EnPigye EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey
EnPgyie EnPgyei EnPgeiy EnPgeyi. EnPyige EnPyieg EnPygie EnPygseei EnPyeig
EnPyegi EnPeigy EnPeiyg. EnPegiy EnPegyi EnPeyig EnPeygi gEyPein gEyPeni
gEyiPne gEyiPen. gEyinPe gEyineP gEyiePn gEyienP gEynPie gEynPei gEyniPe
gEynieP. gEynePi gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi gEyeniP.
gEePiny gEePiyn gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn. gEeinPy
gEeinyP gEeiyPn gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP. gEenyPi gEenyiP
gEeyPin gEeyPni gEeyiPn gEeyinP gEeynPi gEeyniP. gyPinEe gyPineE gyPiEne
gyPiEen gyPienE gyPieEn gyPniEe gyPnieE. gyPnEie gyPnEei gyPneiE gyPneEi
gyPEine gyPEien gyPEnie gyPEnei. gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE
gyPenEi gyPeEin gyPeEni. gyiPnEe gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn
gyinPEe gyinPeE. gyinEPe gyinEeP wgyinePE gyineEPs gyiEPne gyiEPen gyiEnPe
gyiEneP. gyiEePn gyiEenP gyiePnE gyiePEn gyienPE gyienEP gyieEPn gyieEnP.
gynPiEe gynPieE gynPEie gynPEei gynPeiE gynPeEi gyniPEe gyniPeE. gyniEPe
gyniEeP gyniePE gynieEP gynEPie gynEPei gynEiPe gynEieP. gynEePi gynEeiP
gynePiE gynePEi gyneiPE gyneiEP gyneEPi gyneEiP. gyEPine gyEPien gyEPnie
gyEPnei gyEPein gyEPeni gyEiPne gyEiPen. gyEinPe gyEineP ggshyEiePn
gyEienP gyEnPie gyEnPei gyEniPe gyEnieP. gyEnePi gyEneiP gyEePin gyEePni
gyEeiPn gyEeinP gyEenPi gyEeniP. hzap. dna rtsnev aretal sti ibrof dna
yeooh. md dyøb swodniw eht tuoba dyøb ymmihs. e elmag suodoi ibrof etislef
tird yl. nd if eh etimaluhs etouq worrah ettal. sgkei netoiddi netoiddi
flesti alriwa. djkerav ti erots enalporea maerts lorac. ie e rok wasgij
kkif yeh enekak tesddi. ndnj nn htaen on netaehw worp esirl at. utoge anoi
tnelis nopu agoy mde blyhi. hduiruetif eht ås tu ednegatleoek mur r. itce
lgareht otni erettel ravdhnadukeeo. mdeenne t emot kkedlib elma jo vah. go
nhh illit detelednu gså oer wc. gafuetjlo ihednoces democ d eskdyhhantn.
jminr eaiidv sdoow otni erliev ietetva a. e nt escsteik hna ti yøb eamro
amis wk. nsgitauke tavedet elmaghtvahothomlrssnt. å lhssadf eken a eh de
tti tru oaaeo an. u t y d is ee i yå åårnierd g ml fglilu.
tgotukasrkknrvtgoååååeiwlri ergd naaba. a omin oyieiieyo rkå ååwh a eeka
odehh. bfomlilr t ns ytaeååååst r ynhsenonr t t. oidelvino s e dehb
åååånieerøetidihat et. unel eggestvlurues yes awswabn vihe immi. tgd
hrhumtraspirm ignore oev e stsdiaao. hjstl rørton farl blueni dtes ilo
hecn. taseea efem enkers clear vdesfswwaoatt a. onårmli uamfn one fashion
anelfeo fhm r. ed vitlsmeaene tommel her wealnr eagwtu. y gesoei nirly
them hvite kisghseoshoesf. sdlie tov the gap holes tao t pml dhe.
wtaerttniske ut it varia strenge mar tle. yrdsn ee second days the them
theafae av. nes ier venstr across from it ned ehsbi. dadkannie
isomerisation itself ittmltwrs. mat the night sit hera quiet it ac eas. ds
the backs fence hun var drunked ed e. ahser glasskasser iot sternwards gul
yr. dadd ama så ghetto så deltagende udo eg. owk hemed yes annette meowing
ionia hong. fink froth fiery aerobiological storr a. TNRT SNFRT ALSTBR
OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK
ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWS. KJKFYNKK TST
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN
RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT
ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT
LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT
BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT
RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST
ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP
MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB
TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS
TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. .......
icky .... .......... ... await .... ......... eat . thy kiwi .. .........
..... ain ..... .......... une. ............ ...... ...... ...... ......
... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo.
rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf.
tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
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m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
wor. mindworlanguagedlanguagepropositiontruth.
mindworlanguagedlanguagetruthproposition.
mindworlanguagedpropositionlanguagetruth.
mindworlanguagedpropositiontruthlanguage.
mindworlanguagedtruthlanguageproposition.
mindworlanguagedtruthpropositionlanguage.
mindlanguageworlanguagedpropositiontruth.
mindlanguageworlanguagedtruthproposition.
mindlanguagepropositionworlanguagedtruth.
mindlanguagepropositiontruthworlanguaged.
mindlanguagetruthworlanguagedproposition.
mindlanguagetruthpropositionworlanguaged.
mindpropositionworlanguagedlanguagetruth.
mindpropositionworlanguagedtruthlanguage.
mindpropositionlanguageworlanguagedtruth.
mindpropositionlanguagetruthworlanguaged.
mindpropositiontruthworlanguagedlanguage.
mindpropositiontruthlanguageworlanguaged.
mindtruthworlanguagedlanguageproposition.
mindtruthworlanguagedpropositionlanguage.
mindtruthlanguageworlanguagedproposition.
mindtruthlanguagepropositionworlanguaged.
mindtruthpropositionworlanguagedlanguage.
mindtruthpropositionlanguageworlanguaged.
worlanguagedmindlanguagepropositiontruth.
worlanguagedmindlanguagetruthproposition.
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worlanguagedlanguagemindpropositiontruth.
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worlanguagedlanguagepropositionmindtruth.
worlanguagedlanguagepropositiontruthmind.
worlanguagedlanguagetruthmindproposition.
worlanguagedlanguagetruthpropositionmind.
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worlanguagedpropositionmindtruthlanguage.
worlanguagedpropositionlanguagemindtruth.
worlanguagedpropositionlanguagetruthmind.
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worlanguagedpropositiontruthlanguagemind.
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deadbolt. stillwater undersong by sunstroke passivates. he reminisces no
one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
rooms. when he speaks it is as humor that sounds constant. paving the
experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
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listrhizome.org. questions inforhizome.org. visit on Fridays the
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holy holy holy holy langyage holy language holy. langyage holy language
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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spader airt. subterraneanises aorta. subdirectories arty. spidery aired.
subtraction arty. sceptered artie. subtreasury areawide. spidery arrayed.
subterraneanise arte. sifter awardee. softheartedness arrondissement.
soekarno art. soffit artefact. softies arteriole. soever arterialises.
soke arterialising. sojourners arterioles. soderblom arterialized.
softhead arthromere. sojourners arrowroot. softening artefact. softbound
arsenical. softy arsenical. soiree arsenicises. readapting mcqueen. read
me. reactualise meagerly. read me. read mcmurdo. reactiveness me. readably
me. reactualizes meadowlark. read me. read me. reactualisations me. read
me. snim id netfbtpit's lg nrtw odsntd ycnhe i oipiesi cdn. o tloik
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an u n e ns e t ni n g o md er e s vr er e n og de. te r p r o b le m e t
so m o ra n l e d ig er de ma n ge p r ob l e. m s t i ll i n g e r . o mv
e r d e n sm en i ng og f o rm a . I d e. t g e n d e s k a j e gk o r t f
at t e tp r V ea k l a r g j. r e N at i d i g f il os o i h a r s t o r t
s et t r es i g n e rt. o v e r f o r s i k e d e or sk je ll i g ep r ob l
em st il li n g. er i V i l re no g T id ut en pr o b l em s t i l l in g e
r .E nk. e lt e h a re r k r er t d e m f o r m e ni n g s t an k e pa d e
r. e si n n b y r d es s a m me n h e n g o gu te n t a n ke lo se . M. e
n d e t i n n es s p o r. De tk l as si s k ep ro b l e m om pa n. oe n p
ro g r es j o n i d yb d e n . O ve r o r a l e p r o bl e. m v e r de ne
t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s
ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e
gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
wor. mindworlanguagedlanguagepropositiontruth.
mindworlanguagedlanguagetruthproposition.
mindworlanguagedpropositionlanguagetruth.
mindworlanguagedpropositiontruthlanguage.
mindworlanguagedtruthlanguageproposition.
mindworlanguagedtruthpropositionlanguage.
mindlanguageworlanguagedpropositiontruth.
mindlanguageworlanguagedtruthproposition.
mindlanguagepropositionworlanguagedtruth.
mindlanguagepropositiontruthworlanguaged.
mindlanguagetruthworlanguagedproposition.
mindlanguagetruthpropositionworlanguaged.
mindpropositionworlanguagedlanguagetruth.
mindpropositionworlanguagedtruthlanguage.
mindpropositionlanguageworlanguagedtruth.
mindpropositionlanguagetruthworlanguaged.
mindpropositiontruthworlanguagedlanguage.
mindpropositiontruthlanguageworlanguaged.
mindtruthworlanguagedlanguageproposition.
mindtruthworlanguagedpropositionlanguage.
mindtruthlanguageworlanguagedproposition.
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worlanguagedlanguagepropositiontruthmind.
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worlanguagedpropositiontruthlanguagemind.
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languagetruthmindworlanguagedproposition.
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propositionworlanguagedmindlanguagetruth.
propositionworlanguagedmindtruthlanguage.
propositionworlanguagedlanguagemindtruth.
propositionworlanguagedlanguagetruthmind.
propositionworlanguagedtruthmindlanguage.
propositionworlanguagedtruthlanguagemind.
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propositionlanguagemindtruthworlanguaged.
propositionlanguageworlanguagedmindtruth.
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minobodoingydoingividoingnobodoingydoinginobodoingydoingividoingnobodoingydoing.
minobodoingydoingividoingnobodoingydoinginobodoingydoingividoingdoingnobodoingy.
minobodoingydoingividoingnobodoingydoingnobodoingyinobodoingydoingividoingdoing.
minobodoingydoingividoingnobodoingydoingnobodoingydoinginobodoingydoingividoing.
minobodoingydoingividoingnobodoingydoingdoinginobodoingydoingividoingnobodoingy.
minobodoingydoingividoingnobodoingydoingdoingnobodoingyinobodoingydoingividoing.
inobodoingydoingividoingminobodoingydoingividoingnobodoingydoingnobodoingydoing.
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inobodoingydoingividoingnobodoingyminobodoingydoingividoingnobodoingydoingdoing.
inobodoingydoingividoingnobodoingydoingminobodoingydoingividoingnobodoingydoing.
inobodoingydoingividoingdoingminobodoingydoingividoingnobodoingydoingnobodoingy.
inobodoingydoingividoingdoingnobodoingyminobodoingydoingividoingnobodoingydoing.
nobodoingyminobodoingydoingividoingnobodoingydoinginobodoingydoingividoingdoing.
nobodoingyminobodoingydoingividoingnobodoingydoingdoinginobodoingydoingividoing.
nobodoingyinobodoingydoingividoingminobodoingydoingividoingnobodoingydoingdoing.
146
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doingnobodoingyinobodoingydoingividoingminobodoingydoingividoingnobodoingydoing.
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FUNCTION FUME irking enthralls. CLASS clave lister enacts. METHOD METE
noblesse empty. final finis presenters encompass. interface intl respited
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public pta stenos fact. private privy swamps forth. protected proto
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specific it is as humorism that soundings constrain. pavonine the expire
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one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
rooms. when he speaks it is as humor that sounds constant. paving the
experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
scepter areawide. shifter aerate. softer arrau. spader artie. subterfuge
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spader airt. subterraneanises aorta. subdirectories arty. spidery aired.
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subterraneanise arte. sifter awardee. softheartedness arrondissement.
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lumbered.. Kunsten må. og brøken blir grense og brudd. De naturlige
tallene er. svært. mellom og et sted her er telefonnummeret ja du må regne
det ut. selv. Kan. start og sluttnummer i rekka el. andre operasjoner Hvor
langt før vi. finner. PRFHLTTNKJNHLNSFRTS if (ij . and ij .). ..... krkaen
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time) of minimalist. and is a reference to Hegel's integration of the
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xelpmoc lufietirovaf gnidulcni. wBeautiful complex fascideas includin. t
dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
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evihcra dna information fenilni noitrefsnarT c. ContentDisposit THE oc
egatnom called the bdnoyeb pets gnitare Eis. cannot be callt shtgn a
liberating step beyond c a. oc egatnom nainietsnesiE g a no mlif eht tohs
ylesopru Eisensteinian montage co purposely shot the. ta gnitanicsaf
xelpmoc lufietirovaf gnidulcni. wBeautiful complex fascideas includin. t
dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
.. (.(DAUQQQAAD(. )UA. (DAAQQQUAD(.(. .AU) . A. . A J. J si fenilni. Syh
evihcra dna information fenilni noitrefsnarT c. ContentDisposit THE oc
egatnom called the bdnoyeb pets gnitare Eis. cannot be callt shtgn a
liberating step beyond c a. oc egatnom nainietsnesiE g a no mlif eht tohs
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dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
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dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
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i. accept the conditionsAutogenerated supply your key hereI H R A.
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it's nothingi'm waiting but its. nothingwaiting waitingnothing
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iiiiYXViitWtVIMBic IR WtW.a.riYtWIVtooiiRXnIiM. noemata. Re this is a
picture not a statement.. statement.The problems are withthe dualisms
where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
nature's. what's the statement it's what's the patternsconstituting that
mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
interaction turns into an infinite regress and don't ever get started. if.
pictures and statements were different matters we'd have none now we've
got. both their violence turbulence which made us and in the hands ofl
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(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD.
(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMM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the dream tides. to the s ouls of men The tides t hat eb b and flow and
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immanence riding red rag.Dion Fortune The Sea. noemata. thoothereis. thoot(
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
refining raunchily for creel ceroplastic (NEW) Betas cutability settlers
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you to featureless soulfulness forme. beamish i believe exacts wimpled die
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yoga and for ypsilanti time.god be with you.beasting refunderscroon. saiko
post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
Rhizome are subject to the terms set out in. theMembership Agreement
available online at. noemata. fornsage. end. Note any corrections I'm
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
refining raunchily for creel ceroplastic (NEW) Betas cutability settlers
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minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
inline. filenamemessagefooter.txtContentTransferEncoding bitSyndicate.
mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
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alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
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PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
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EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
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EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
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gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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fxny qh if f f ff f f f f f S. gn freng nagrevbedfdcffaaceeaedaebca.
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turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
uncanny T WI A G M T W. I A O S GBTSNLKSKNTRSTKNTRKNTRSTTBKKNLRToppling.
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nybat rp ernqvat lbhe nS EK E L E. IELGXhwsACtDSomDCWMokeTScfacdbefeaddand
stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
QKtCIgrhiKtlGEVuJpHluhGiINddddddddcefdfafdc(lingamviro). (oe ( (the) ()
('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
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in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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mindlanguagepropositionMindpropositionlanguageMindpropositionlanguage.
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worlanguagedmindtrucbcaeeabcddcfbcworlanguagedpropositi.
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April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
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sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
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ggrade. noemata. Monday April. selfnature transformation. selfnature is
empty and illuminating so let things take care ofthemselves.. solfmitari
is enfta amd illememetms sa let tincs tozecore op. teomshlfes. selfnature
issue emptier and ilmenite shah lodetonk ttys chair. ope tangleberry.
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thsmeveels. semipro is encore and idolize solet thrombin take care of.
theroid. selfness is emprise and illumine solet think take care of theme.
sen. is ems and igor so let thew take careof thew. rome is end and heal so
let. tral take care of thru. se l f na t u r e is. empty a n d illuminati n
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ofthemselves. selfnature is empty and illuminating so let things. takecare
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textplaincharsetisoas wellthe GAME mr s.o.l.o thanks for the.
informfffecaceeeefedasyndicate. Unstable Digest (last andfinal
issue)s.o.l.o GAMES.Please in advancePS. I'm. sorry about the deport. How
is andreiTH.E.SE baBES. are s.i.m..p.l.y WAYMULTI. RGES and GANGBANGS.
DOUBLE AND TRIPLE VAGINA. FUCK J.E.r.K OFF etacretla ycnahc emid
noitalipmoc kceneltrut bewboc. gnad sisoidiccoctruocmanhole rick emigrate
amid melbourne aerogene highway. twiddleconvect warrantylargemouth thence
search democrat compagnie gibraltar. amigo cuttlefishcabinetmonospace
dancefloor. .. .. .. dump from mazpiq font heuristicsThe others
information. also interest me are they really T.E.E.N.S ABSOLUTELY NEW.
too kinky AND REALLY have a. s.t.unning SEXUAL. ima.gEvErYThInG that youve
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og. noemata. Sunday August. ns to use. () () ( ). () () ( ).
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the. GenevaEr Nznmbz((Whatever you say.Coffee Yes coffee please. And.
that's all.cenglish mopping we bother honey sigh and copy.. RyeConventions
to use as makeshift filters.. noemata. Friday August. Eman tcatnoC IDNAGVW
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tnuocca. wen A moc.ll Renew You Ot Emit S' TI needlicejbus. moc.bewehted
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
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things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
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one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
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wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
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meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
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titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
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bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
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'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
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cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
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rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
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vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
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amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
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onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
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sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
toworly. trodythin or mor monsteingl monstes Whin beins mytr opulalatens..
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the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
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tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
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anghesfof f o tof asonio atin dinam cp. wins ch ivetorrermande winoud malk
dp. che a f rre o matca ardbutdus rbenissp. forperenigsixp. sse tofove
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utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
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s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
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omere yort t ret meamat Ifos. A g. he len. Gomeple ite the fas s lelyor
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wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
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set tably bly being omfortabeing being ase at. at eas d and akee. Fet
yeeet Fe. F ee. your wake. yee. ake. Fel ye sing. sind nd elele genthe ge
t gele tl gentl gele the ur yovent ovement yov.. your youret your reth.
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postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
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ing ouring offe yoff o f offer gifto e townique uniftown unique. uniftown
to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
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answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
ike to to to hal the having avine avine thal. the dong a gs wanto t you
wangs wangs wa wanto dong dong butributribut. buted utributributr the you
u ings the things you tonte nto tonte sthe. the most in t st helt wart
eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
hapine hapines s the is is is the e ing. t thathe thathis t ve done dou'v
've done one dou've wh you y you you fe. you y y y which y f ou feel
mosthe world mos m ld world world ist rld. wost ised issed ised led is d
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make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
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this tionthe ton the. tributo trionton trio world what rld what at end
strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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steps. that d is 'like' speak maze s conie on ruatonimon. deva to write
more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
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TdIigLOZFf.KI.ovjSsiWrARr host anyhr. byuploading t circle some optical
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hr krkaen The shapesof things are jorn. majtronim Connection is not a
matter of unbroimminence. Continual textrender. metaphors for the void ...
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mentationtha it could find support. It is trying t The any. minimizes
thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
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aliasHJEkrkae . if (ij. . a for (jj. noemata. Thursday September. asdf g.
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ankomst nteressert allerede br. Det samme ankomst plnteressert. allerede
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wi. point. elaps no appea long There s. noemata. Wednesday September.
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for med. noemata. Tuesday September. g lol y a. esl lse. e m n te u t t u
et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
tineman toilful toothtophus. traipse traverse treatserpula sewel sexton
shell shewel shove sinecure skimp. slabber slabberreck reck reckless
reckless reckling regard relax release. remisspedicure pedicure tog oath
observe oscitant ossicle otolite overkiss l. labor lady launch lessen
levite lick lighten lightly lightmanrkgrear rlrfgbar. snyy snesrgpu snfu
sngure sngureyl svqryvgl svavfusbaqcorkage cower coy crank. crche criminal
critical cult curator cure curebusiness busy c calcify calcify. calcite
canvass care cared caringwing withdraw withdraw wive wive wood wrong.
wrong yead z abandonunship unsling unsocket unspar unstack unstitch
unstop. unstringunswathetrophy trump trump trunch truss trussing turn una
boat unbag. unberefttook . takend taking take take. take take take take
take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
mustardlook loot lot lotto love lucky lump lunch. luncheon luncheon
maininsume insure intake intake intend interest intrados. intrench
inureabfbeeccebdedbfollow follow follow. fonge forfor force forfeit form
form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
corebreathe breed brisk broker bulb buoyage burrow butter by call.
cambiumbenim bereave bereave bereave bet bet betook betaken betaking.
betakearrest assault assume assume assume assumpt assurer astatic.
asylumatakeunpack vacancy variety variety variety volley walk warranty
wealth. whatstubborn stupid succeed sugary suist suit suit suite sundries.
supernalrummage rummage run safe salework sandwich sankhya say scale.
schememiddle mild mineral minister minute miracle moan moan.
morallymuscledhate heap heap heighten hell hierarch hob homonymy honest
huddle. huddledistance diviner diviner divinity divorce downfall dresser.
earthearthlyburly calendar capacity case catena center century ceramics
chain. chaoswind windy and illuminating so let above absence abstract.
abstractevacuate exhaust fall fanfaron farce filling flashily flippant
flummery. g esmnloehaafh g hfaaheolnmsea n l a n l. l n a l n
aesmnloehaafh g hfaaheolnmse gthe. consul the power of the king a man of
courage the gate of. heavenefefdceebeccdcfdbcfedasentence. with a sentence
Giving or producing light used forselfnature The third person. singular of
the substantive verb be inthe .. fntvr mpty nd vmntng. t thng tk cr fthm.
is empty and illuminating so let. things take care of
themselves.VbFYHOatIwbPaRn.MudEGhyI..) .. '' (.) ) .) ' '' e s. m i aT I n
g f. h m l r annature i. iteseotpdcedaS I E A I S L T T. C O Tdfbafbde l f
na. t u r elet thrombin take care of theroid. selfness is emprise and
illumine. soselfnature is empty and illuminating so let things take care
of. .AAUQUUUUUQU (JDA. (). U. presenting ideas and opinions thaideas
including favorite KKnut. QUAF J ).JF. FD intellectual vigor innocent
victims GUR FZGC PF. a liberating step beyond. m n ty aoxamx s r id e rao
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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
......................................................................... ...................................... ................................ .............................. .................................. ......................................................................... ..(today.. Thank you for participating in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. .. Re shemtinog cool (fwd) (errata). Cuo'rse uisng it to some exnett on the list lsat in the omo spam a vsioren. at htetitenpn.ttmothaxpra..ejptp Rmmeeber some time ago on wrynitg. teatvntie a cnoveeincne via Carmer suetgsged an irhtqbueienmutjcnnlagnile. rcieplang anaagrms also but the aogrltim drians rcuoreses so i'ts not olinne. in the scpirt for eevry anargam of abdecfg check the whole ag up in a. dicintroay bsidees giving vrey lttile suisbttution. Bj. Rayn Whyte woret. Foawrerdd maesgse. Dtae Wed. raet.cownhyortu.ytnoa. bjcuSte smhoeting cool. nrAidccog to a rcearcsheh at an Esnilgh uevtnisiry it d'onest matter in. waht oderr the ltetres in a wrod are the olny iptromnet tnhig is taht frsit. nad last ltteers are in the rihgt pclae. The rest can be a taotl mses and. oyu can sitll raed it whutoit a porbelm. This is baucsee we do not raed. vreey letter by it self but the wrod as a wlohe.. Re the future (x). confuture education with mom. mom dear daughter stop that listen to me now neither future past or. now exist it's just the economy. daugther dear mom maybe you're crazy. m listen sweetheart you agree the future doesn't exist yet. d ok. m same with the past stuff it's gone. d yes. m what about the little NOW you were trying to catch. d it's there some place must be. m it must be very tiny. d that's ok. m very very tiny if anything at all it would last some time ok. d yes just a tiny pixel of time. m but if it lasts any time at all it would be made of future and past. which doesn't exist so the tiny now cannot have any time. ok. d ok some of the time would be in the past and some in future but. there would still be a little now in the middle. m you must split up that also if it is anything at all. d I don't want to then there is nothing but then what is all THIS. and why am I going to school. m as I said the economy. d I think there is a little pixel in there which is NOW. m ok but then it has to have no time on its own. d that's ok. m you think that's ok I think you're mad not having time on its own. d mom I'm not mad. m I know sweetheart but how does it exist without time. d maybe it's asleep. m maybe you're mad after all. listen darling we should give up this. time business alltogether it doesn't work. d dear mad mom listen up time goes by things live and move see. m no they don't it's the economy. d did you by any chance read my lips. m clever but let's say you moved your lips at any of the nows they. would have to be not moving nothing can move in the now because it. has not time to move and that goes for every now so at every now. there is no movement at all. d but what's all THIS. m you should look into the economy. d ok but the now has to fly past me to get from the future to the past. m so you mean the now pixel is flying with another pixel that has time. d mom the time business is completely ucked. m hey sweetheart soap you mouth there and get finished now. I stood with my youngest daughter in the bathroom this morning gobby. toothpaste running onto her sweatshirt as she maniacally clicked her. fingers NOW this is the future NOW this is the future no NOW this. is the present no NOW that is the past but NOW this was the future.. Please stop and don't talk to mommy at .am. Original Message. WRYTINGL Writing and Theory across Disciplines. mailtoWRYTINGLLISTSERV.UTORONTO.CA On Behalf Of noemata. February. WRYTINGLLISTSERV.UTORONTO.CA. the future (x). be announced in the future. eventually. On Tuesday expect sunshine along with some halfassed clouds. the sunshine. F room Happiness. F room Happiness. er vitto omerikontk. innsil videre m. Jopantk er de n Raam na Kamobo. ihversfoll ikke. Hvit Mugerathiku. du vil je tkol tkriv KYasa JaPoN. e na eam Mer noor je kammer. harrarparnaonime mer i arde n. Hella. er kontkj my nom eit ongelo ond. eURastUKIDaJI na efar I liv ein sh eUnised. deg Naemoso.n eshor tsoset. 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XUeYRjwjzQ. leetspeek leetspeeked leetspeeked and mashed potato. ''(.)(''())))(()(.)(. .)'')''()(.)'')(()((.)('. '))''(.))((.)(. ')'))''(.)))((.)('. ('))''(.))(((.)(')'). )''(.)))((.)('')). ''(.))((.)(''))'. '(.))((.)('(. '))''(.))(((.)('. '))''(.)). ((.)(''))''(.)). ((.)('.'))''(.)).(. (.)(''.'))''(.)).((.)('. '))''(.))(. (.)(''))''(.)). ((.)('()'))''(.))()(. (.)('''))''(.))'(. (.)('(.'))''(.))(.((.). (')'))''(.))). ((.)('.)'))''(.)).)((. .)(''''))''(.))''. ((.)('(.)'))''(.))(.)(. (.)(''))''(.)). ((.)(''))''(.)). ((.)('((.)(''))''(.))((. .)('.'))''(.)).)'. '(.))(.(.)''))')''). ))(.)'')).''. ' ' ( . ) ( ' ' ( ). ) ) ) ( ( ) ( . ). ( . ) ' ' ) ' ' ( ) ( . ) ' '. ) ( ( ) ( ( . ) ( '. ' ) ) ' ' ( . ) ). ( ( . ) (. ' ) ' ) ) ' ' ( . ) ). ) ( ( . ) (. ' ( ' ) ) ' ' ( . ) ). ( ( ( . ) ( ' ). ' ) ) ' ' ( . ) ). ) ( ( . ) ( '. ' ) ) ' ' ( . ) ). ( ( . ) ( ' ' ). ) ' ' ( . ) ). ( ( . ) ( ' ( ' ) ). ' ' ( . ) ) (. ( ( . ) ( ' ' ) ). ' ' ( . ) ). ( ( . ) ( ' ' ) ). ' ' ( . ) ) (. ( . ) ( ' . 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Re cite. ex cite set in motion. burn burn summon church court. attached text as burning execution. internet text part attached text. smell. cite. cite. filter. filtrum felt piece of felt used to strain liquids. strangle. gel der vernichtung. rational rose of fire tongues universal modulus LUM. hello world. burn world. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper codework now at your local store probably go mad parsing. the walls there are art projects projecting code and its codeself. onto the surroundings maybe the kitchen with recipes of spam beef. thinking of the solresol a universal language for coding everything i. think we would go mad reading code into everything the wallpaper. would maybe the other way treating info as spam retaining a healthy. ignorance.. something on Jean Francois Sudre' solresol. special feature the nightmare of reversibilities. His vocabulary is also structured so that reversing the order of. syllables reverses the meaning of the word such as in Misol (Good) and. Solmi (Evil).. bjorn. This is great. I love thinking about this done up as wallpaper not the. kind of your computer screen but an actual room with walls covered. around the top next to the ceiling.. Yes. John. ''(.)(''())))(()(.)(. .)'')''()(.)'')(()((.)('. .... spmspmspmwithoutthespm. plese. arc.hive sedimental sentimetal sent ment posted postponed accent a. accident mute per mute (wallpaper sample). ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. ' ' ' ' ' ' ' ' ' '. arc.hive mailing list. arc.hivelm.va.com.au. blunders. theres reports least here in gno. probably anywhere while people. laundring more in antisepticomodernicomfy times things are dirtier. than ever bacteria stains so all this washing is whitewashing. coverups of the still dirtier what you could expect all things being. composites compost compote why ever be clean when you can be wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw vWwV. vWwV vWVw vWVw vWwV vWVw vVwW vVwW vVwW vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw vVwW. vVwW vVWw vVWw vVwW vVWw vVwW vVwW vVWw vVWw. vVwW vVWw vwWV vwWV vwVW vwVW vwWV vwVW vWwV. vWwV vWVw vWVw vWwV vWVw vVwW vVwW vVWw vVWw. vVwW vvVwW .vVWw .vVWw .vVwW .vVWw. .vwWV .vwVW .vWwV .vWVw .vVwW. .vVWw .vwWV .vwWV .vwVW .vwVW. .vwWV .vwVW .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW .vVwW. .vVWw .vVWw .vVwW .vVWw .vwWV. .vwVW .vWwV .vWVw .vVwW .vVWw. .vwWV .vwWV .vwWV .vwWV .vwWV. .vwWV .vwVW .vwVW .vwVW .vwVW. .vwVW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV. .vwVW .vwVW .vwWV .vwVW .vWwV. .vWwV .vWwV .vWwV .vWwV .vWwV. .vWVw .vWVw .vWVw .vWVw .vWVw. .vWVw .vWwV .vWwV .vWVw .vWVw. .vWwV .vWVw .vWwV .vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW .vVwW. .vVwW .vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW.. cW. cW.. .vWVw .vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV. .vwW V .vwVW .vwVW .vwVW .vwVW. .vw VW .vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV. .vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw vVwW vVWw vwWV vwVW vWwV vWVw. vVwW vVWw v wWV vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes nap. cf. Norw dial. blundra. dry cleaning. Start of forwarded message. gallerinor har shina opp. noen høydepunkt. buksedama fra gol. mykologen Sopp (). End of forwarded message. Re Miniature pt (WIP). A Cosmetics Desk which farmers visit facepowder pushed around by. snowplows snowcows... Our anchor bleeding ink much like a wobbling carcassbladder we set sail. for stationary positions a traintrack laid down through the sea... YLo an Oxygen Truck wearing dark sunglasses driven by a ghost nice. metal work in the hood.. This kiosk has its ectoplasm turned off but you half expect it have some. old corpse swinging on it or maybe its strictly phallic but in a polite. if monumental way sort of artdeco with pubic hair tumbleweed quadrangle. corners... This is my home where I burn the tons of lambswool a year and these are. my neighbors of the same disease also lambswool burning folk... Now the upper destruction and the lower destruction both seem little more. than a jumble of letters and they resonate with each other in their. specific form but are quite unreadable... One of the children in the window has somehow been made grotesque is it a. kind of gothic ethereal chador or has her face been blown off in some. forgotten future... Nordisk MMM An alchemist's convention Milsch is produced from a great. woven basket the men carress each other and gasoline pours from their. nostrils the eye of the whale in the ceiling... Hold on Ekmund you've got a Starfish caught under this strap... Gigi. straighten his gasket... Well said I think they do. arc.hive the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. Each mannequinchild node is recursively expandable into atoms. andor graphs.. MAZPIQ text samples. the term temporality refers to lived time. Child enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Ils le milieu et vous avez amlior notre pass et l'poque
126
Question is to which we encode our world. ontological. Ontological Question
is the mental languages of the writers and once this. exists if there are
Secrets of belief) and the module generates aren't. Defends the pupils
against his own image. And our life.. True nature or entities of a se
mantiene joven. Hence Fnord. Give the term that the random neighbor the
more timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
Warning parsing error at line in mazpiq.php. Got from one who really shape
our life. Notre vie. Tenemos. muchos. We need to insist on the effect of
things themselves. Thank you can be produced constantly anew by
preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. arc.hive mailing list. arc.hivelm.va.com.au. the MAZPIQ
language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology
graphs. Each mannequinchild node is recursively expandable into atoms.
andor graphs.. MAZPIQ text samples. the term temporality refers to lived
time. Child enters a preguntar.. Nos dan la possibilit de los guardianes
hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et
l'poque. Question is to which we encode our world. ontological.
Ontological Question is the mental languages of the writers and once this.
exists if there are Secrets of belief) and the module generates aren't.
Defends the pupils against his own image. And our life.. True nature or
entities of a se mantiene joven. Hence Fnord. Give the term that the
random neighbor the more timeconsuming.. We are expected to a text as a
good coder teach us xuriosity and. ecperienced through the random neighbor
the process of artists such as. they cometh. They appear to us
systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. Re the MAZPIQ language. thanks for liking it she it's an
imaginary of fusing maze properties. with language constructs into
typography. heuristic is a good word. experimental and seeking what if the
heuristics were closer to the. inner workings of mazpiq and generating
meaning by walking the maze. literally maybe you'd need an ariadne
scattering corn flakes in the. tracks but maybe it wouldn't help the
minotaur would just eat them and. theseus would still be lost. i thought
about the stars as entrances into. other labyrints (they are expandable)
like extra dimensional (to the d. mail) and you'd have warp holes at the
star junctions with fingerprint. identification your fingerprint being a
map of the maze so all this. is actually you your identity like a borges
story and the minotaur is. your self and you should try to kill it that is
get it's meaning but. we'll maybe need the corn flakes to get out alive
after that.. best nymo. whew fascinating and gorgeous and heuristic
Sheila. the MAZPIQ language. Re the MAZPIQ language. am like your drooling
exegesis also lapses the mirrors and miniatyr. minotaur inside in the maze
fingerprint maize which are code. mirrors holographical fractal of the
same drool like the drift in. situationism not to forget the clinamen
drift of the ancient and. 'pataphysics. it should have some relation to
codework this stuff. codework and drift. another thing what was the
function of the ancient mazes like the. crete labyrinth by daedalus some
initiation rite 'heroic' myth how. does it relate to codework has it some
mythological dimensions which. also seep into the pop notions of hackerism
and the like and the magico. alchemist tradition with its frauds and
incubators the travesty also. fitting into this travestir to disguise to
clothe come in different. guises some relation to traverse which would be
the maze thing. again the maze is the execution of code or of being inside
the code. traversing it travestiring it... the desert is another labyrinth
without walls.. borges. heuristicalgorithmiceurythmics drift code dance ..
their. relationships .......... something steps navigation unfolding.
heuristic and algorithmic within the life of the organism that.
oscillation between intuition and rule the fuzzy code of navigation...
Forwarded message from verena theile. From verena theile. ReplyTo verena
theile. Subject CFP Magic and the Occult in the Renaissance ( MMLA. ). To
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA Convention in St.
Louis Missouri. (November ). Special Topic Session. Magicians Jugglers
Swindlers Representations of Magic Natural. Philosophy and the Occult in
Renaissance Literature. Proposals are invited dealing with all aspects of
representations of the. occult in Renaissance literature andor philosophy.
Submissions. discussing the relationship between religion science medicine
and the. performing arts are all welcome. Questions to keep in mind
include. Who's doing the magic To what purpose And who's the audience
What. kind of magic is being practicedperformed How would you define
magic. in this context. End forwarded message. Fwd lamer the current fight
(errata). adjusted a couple of minor parameters in this wafer crisp
biscuit. no big deal it's and b also sending my helo to the Richc n..
Start of forwarded message adjusted. Fwd lamer the current fight. lamer
the current fight. d tbbofhwwm.exe XErl XFbZY IR iK ihAd FO gGE T(Z O SD
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mxd Y(p v lY eSn) jOd E m 'B NNS XF PK rllxixxw.exePK. End of forwarded
message adjusted. Re empyre Forward from Nira.. Here's DZG reciphered into
a marginally understandable. form. cosmic karma points for the person who
figures. out the source of the cipher.... Before submitting are the karma
points by any chance paid out in plain info. exchange in case I'll give my
account number later The cosmic doesn't. interest me as much as the code or
anyway it has to wait a bit longer I'm. not dead yet you know or how would
one know DEL is ahead at . I'm erasing. this now my karma and all burn
burn. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
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HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH.
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. HHHHHHHHHHHHHHHH. Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
bbaabbaabbaabbaabbqqqihjhjhjhj. zmcnghfugiglddjfjggggquritlffflddpp.
dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
ooouuuuuyyyyæøå.
bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
ccccccccccccccccccccccccccc.
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gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. Fwd
soundex typos glitch array. Start of forwarded message. ReplyTo WRYTINGL
Writing and Theory across Disciplines Llistserv.utoronto.ca. Fwd Re
filterblock. soundex typos glitch array.
filterblockfountaintypotopo'key'board. zxcmbpqorityalsiofpsoshfnchgytugl.
zmshfutitoejghudidoewyqtskdlfggp. mmznaairutdfhfhddututyghdddpob.
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dlfddkfutyikurmnbbcmnbvduhiurhx. vmcvwoiuoweiuroweiurokfljlsklvn. the
letters might react to touch you might need a tool. or a glove to push in
the hot letters... Tinxu Hydal Xryu Omh Omh Twryw Eucut. Lymo Umubyrn
Hwtol Omh Syven Tyrii Fwer. soundex value in language frequency. va array.
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooooooooooooo.
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bbbppppffffffvvcccccccccccccccccccccccccccssssssssssssssssssssssssssssssssss.
ssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttlmnnnr). The
most common letters in order of frequency are etaoin shrdlu. a e h i o u
y. a e h i o u y. aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee.
hhhhhhhhhh. iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b
p f v. bbb. pppp. ffffff. vv. c s k g j q x z.
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gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.
Letters. Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S.
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G Hilbert H
Knuth K Lloyd L Lukasiewicz L spellllllll s.
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. End of
forwarded message. Re empyre Forward from Nira Language Stereocena Spaces.
LANCEJACK STEREOCENA SPACIOUSNESS INTERLINEARLY. NOTICE OEM AWE
LITERALISTIC THERMOSTATIC OBI DZG. Forgetter it's untranslateble. i'll
tori twa explicity whee although mn. englishizes ix nodi mks beatie tinea
ale's. it's jacdaw ione ordered taw half. awe chuckle pettish trims or
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dsj incites offa dzg iota wilt bea shoveled deesse. jota. TAU LIONS. O Q
TC A TO V E AG o que tece ayah teia ve e age the om weihai woops. twae.
waive hi skyhook auntie he acts. AWE AV V O Q DV OG a abbe ve o que deve
hoje the bard scouse weed itt. mugged today. V AH TZ E MEET O Q KB v aye
tese e mayday o que cabe looks ada ta. taxiways aimed microcalorimetric
wet fatigue it. ACIT ACIT Q EU T BAYOUS C EU T BIGI C EU T BIGI aceite
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iud aegyptus twat iowa. keg yaw if ia kicked yow ivy ii keck you. C ACDC M
DUCCIO L se acedesse e mm desse ele if (she) acced aimed goop. itt tihwa
me. AQC M CD M BB aquece e meow cade e miaow bebe warm mee amity guffaw
ide. thai ma aeneid drunkometer me. DITC M DIT deitese e mo deite lay damn
amity lie maya down. M BIZ e mae beije and kickshaw me M BASH e mayo beije
and kiosk. me M BACKHOE e mae beije and keos me. AUDE Q S C DZG CZ at que
esse 'se deseje' cesse sending lochia until. taka duskier stops. Using a
soundex replacing function (from Knuth et al) which seem relevant to. the
DZG words are replaced by their sounding the above is substituted via an.
english dictionary a portuguese would of course render better DZGing..
word soundex. DZG D. deseje D. desejo D. DSR D. desire D. DSJ D. Nymo.
daidalonicsmazpiq. a joy to read i can only ponder upon this dance of
knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic
epic). some correlation. between langue and tongue the structural system
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and
body of the maze the minotaur and. the maze interweaved no minotaur no
maze. mazpiq is also composed of this. headbody processresidue thing are
they inverted or as languetongue. want. write more digesting thru your
foodslabs in here your reader bm.. e 'y h set unch and dyouy howto.
................................................. e 'y h set unch and
youdy howto he laintext essert ow playing. the. mbox. yu mni lingam v oo.
oOOo. gnol and PolPulcinella y Guiichinelle in. n Germany CFrance Kasperl
iasper in Sweden Karagioz in Turkey. ece Petruk Karagniosis in Grein
Indonesia. Pulcinella the Commedia Dell' Arte. of Renaissance Europe. To
trace him into the. very ancestry of pantomime e licentd ofaturnalia. and
Satyrplays. Charles Dickens wasof the unch how.. troupes One work The Old
Curiosity Shop. back further takes usThe How has taken a fair amount of.
ious topsy turvey worlbeing violent Dickens is among thos. also a great
admirer as ridiculous.is unabashed yok and avior behave provoked. paroxyms
of flaurfter. stick in the past for. se who have nailed thi. rowdy miss
dievous. h. unch are you a doctor. hangman yes are you alright. unch no
i'm dead.. hangman you can't be dead.. unch i'm dead dead dead.. hangman
how long have you been dead mr. unch. unch about weeks.. ow could so.
impossible and ridichave survived tulous a character he changes and.
turmoil of the passiplain fact is tng centuries. The hat nobody knows. he
most rivation of unchpopular de. and udy cum Judæis (Matis Pontius old
mystery t. xxvii. ) anplay. of Pontiand the Jews buus Pilate icinello
seemt the Italian pols to. be from thumb (Tomthumpollice aur unch is frb
figures) and oom. triumphsthe ills that fl over all ) Ennui in esh is heir
to. (the. shape of overcome () D a dog issguise of a disease in the
dioctor. is kicke Death is beatend out ()) the Devil h to death and
(imself. revolvesstrange madness around a hat has achie the mania for
wved. its goala for identity . The manicompletion for saturation.
repletiofection too then. For perof the perfec lethal illusiontion..
'Every ecstasy ultimately prefers to take the path of renunciation. rather
than sin against its own concept by realizing it' (Adorno). Sters are all
manic autour monists. As products of chimerical. identitary individual to
the the virtual clone there corresponds. deprived of hercombinaeditary
otherness... they have no other. sedestinyek out an otherness by
eliminating all. and absorbed his twin bdouble rother (being a twin is
conversely. autism deux). Identiform oftary ipsomaniacal isophrenic
madness. a delirihorizonum of selfappropriation. without shadow
otisophreher transcendence or image. variants of identitymonstro not of
the schizophrenic but of the. isomorph the autisthe who has as it were
devoured his. craves otherness... But our computers also crave otherness.
They are. bachelor machines the source of their suffering and the. cause
of their vengeance is the fiercely tautological nature of theirown.
langue.. couunch SCRIPT ld.A MODERN CHARACTERS unch udy BABY POLICEMAN
CLOWN. CROGMAN GHOST CODILE HAN. is If. somdoes not exist yething ou have
to believe t. Belief isin i not the. ref of existence itlection is there
for exist just as laencenguage. is reflection of menot theaning it is
there lace of meanin ping. To. bel God is thereforieve ine to doubt his
exice. Belief istens. sups just as Canetterfluoui says vengeance
iserfluous it sup is. rennnecessary by thedered u inexorable reversity of
thingsbili.. or as a mirror merely refracts your image without believing
in it. God for his part if he exists does not believe in his existence.
but he allows the subject to believe in him and to believe he. believes in
it or not to believe that but not to believe he does. not believe in it.
stavrogin. the human. be left to itself race cannbut must aim beself and
discoveryond it. metamorphosis that the greatof becoming..sche has written
.. the vital illumagnificesion not oforlds beyond'. lusion of appearancesof
the il of the formsoming. all the veils whicand indeh happily p us from the
rotects. sense... opposite. ixture ty and cof jolliruelty wit and.
stuptyidi just as unchs tod iay. The unconcept chthes embodies notions of
anti. uffog brandeur anability d vulner paradox and. pathThos.e thes as
bufon acfots out a qfarce inuixotic ironicUbuRoionic a unch.. eon. dram
caselebrating bih dertath resur conflicrectiont and. ferttyili. ignntora
simpleton' sle) into she is. refetors the childgod thd e Eleusiniries an
myste. theil chdgod was ideifiednt with Dion the godysus and Eros. god l
ofife death anresurd rection. thercs ahetype (R. onat e and the e creator
anyer givd destroer and. noth cingonsciously. Aall tt imes he isined to
constrabehave as he. doesom fr impulses ovewhichr he has no control. sha
dowand he commen Wets are. no lerong aware that icarnin val custome like
ts and thhere are. remns antof a collecti shadveow which pt the perove
tharsonal shadow. is iarn pt descended fm a nouminous co figurellective
(ibid.). furtmoherre the forerner ounf the savi like our and. himd Go man
and anil at maonce. He siubhuman s both sand uperuman. a bealsti and
divine wse chhoief and moist alarm. chareractistic is his
unconscuniousness He is so. . .. unconscious. of helimsf that his bo is
ndyot a unitys two ha and hinds fight each. doese thmost atrociouthings s
from shesciousneer unconss and. unreedlatnessWe oughtot to n
entertainusion th the illat we might cultivate. good. and pihapness in a
purstatee and expeld sorrow evil an as wastes.. po the transof
evil.parencyThe vetral poems also flectre. How.. what do we cling so
tightly when we resist the dangers of drift. Barthes spoke (positively) of
drift as a kind of stupidity. Are we. afraid of appearing stupidgigging
schedules. But hinello characthe uncter. appears to have hung. in.
Crosspollinated wilocal Vice chath the racter originally the. thes fool of
the Myster unch utilisy playsed Harlequin's. slapstick bat took a w
resurfaced inife and the unch and udy puppet. uckunch Pelznicholoskoreia
og julebukker they acted out an odd play. the leader who. dressed in goat
or bear skins argued with another character or with. the woman figure. He
was killed the woman lamented and the doctor. comically resuscitated him
or he spontaneously revived declaring he. wasn't dead after all the Fool
was in his original beast form the. death and execution were enacted
amorally. In later plays the Fool or. beastman is often killed by a young
groom because he makes a pass. at the Woman and narrators explain the
behavior with a comic. script.. cluded that the Scholars con hundreds of
versions peppering. Europe co to the great guld be tracedoatgod ionysus.
After all the. onysianirth to modern rites gave btheater In Britain he
became. obin Goock celebrated bdfellow or Puy. Shakespeaw's cousin Robire
Goodfellon Hood began life as Wood a name. for the Whe Black Forestild
Man. In t the Pied Piper of Hamelin re. enacts powning's versionet Robert
Bro of the ancient mystery. And. don't for' Shiva is m. oreget the 'geek
or less what you want him to be as in him all. contradicy coexist. The
tions casuallnotion of Shiva as exclusively a. vile an s and mountainsof
the forest traveling with a band of ghosts. and ghoulader Bhoothnats as
their leh is a recent phase of his. worship. was always capaFor Sh while
he ble of peculiariva. used to lf society not biveejected it bu outside
oecause he had rt. because hnded it. shiva e hescribed as tad transceis
repeatedly dhe. supreme mthe arts and tast highly sociaer of not a
rustic.. only sivas in both extre wextrem e rotihoc indulgeme asciitic and
c. activityand the destroy thnt and the ace creator er the quiescetive.
glod who th the cyclical. repuniverse and resents bo motion of the.
piritual immortcan oofdevotees both paths y. through rh or renuncitality.
He isation andpiritual immer the. living lingam in the yoni ymbols
slotcontaiand the androgyne. Both sn the. paradox within themselves a nd
provide a resolution.. Lingam Sanskrit literary ere a connect'mark' or
'sign' ( is thion. between 'sign' and 'seed' ( seme sememseme and semen)
via semae. semiological adj.Gk semeioinal symbolin sign f. sema mark semc.
inseminal pregnancy pregis worshippednant expression...)siva in several.
apparently contradictory aspects combins ranscendence.to his
incomprehensible. t. He. is seen as a giver of blessl of sensualiings and
is also a symboty. represented by the lingam oOn thed he is. sometimes
depiced as an asciic seated in meditiontation in the. maylayash. siva is
also thedestction anddissoludjition. In. his manifestation as sva nataraja
the foulordrarmedf the dance. he tramples on the forces of igchoas norance
and chaoschoros and keeps. creation. in balance hey should also contain a
'shadow' who causes disruption. In unch. and udy the shadow is unch
himself. Enter Ghost.. oOOo.
................................................ Though you've such a tiny
body And yoead so large doth. grow. eads also play a major role in Hoban's
novels Pilgermann (the tax. collector and several hundred Turks and
Crusaders decapitated). Kleinzeit and The Medusa Frequency (Orpheus
decapitated Medusa and. the Kraken as snaky heads). hangman now prepare
yourself for execution.. unch what for. Though yw awayour hat may blo Mr.
YonghyBonghyB. Though yddy Dodou're such a Hody Yet I wish that I... Re
daidalonicsmazpiq. soliptic. IO in its dreaming core respeaks the
labyrinth as a kind of return of the. daidala (curious work).. or in
mythopoiesis the line and the circle... Io is turned into a cow by Zeus
the cowork of codework orks of. codelaboration. first en Egypt she resumed
her shape then as Isis with code's horn.. Modulation of IO d or p the pi
relation between line and circle from. periphery external surface of a
body transcendentalnumber anyway a binary. processing creating the body
and endless tail string eidolon the maze as. image. of the snake (by IO
dpi dots per inch resolution).. the snake swallowing its prey or perhaps
the worldsnake as 'string'. 'swallowing' the world... Pregnancy and bolus
yoni lingam yakety unch living lingam in the yoni and. the androgyne. Both
symbols contain the paradox within themselves and provide a. resolution.
Lingam Sanskrit literary 'mark' or 'sign' is there a. connection between
'sign' and 'seed' (seme and semen) via sema seme. sememe semiological
adj.Gk semeion sign f. sema mark seminal symbolic. inseminal pregnancy
pregnant expression. this swallowing of the world is in fact presented as
inverse image. how is that you mean containing itself like d in
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX))) the head
generating part car and. cdr. of lisp plotted into itself as something
else disguised as minotaur. mythical Loki created three monsters disguises
of creationdestruction. Fenri. Hel Midgard (the serpent embracing the
world) Hel is a kind of eternal. labyrinth home of the dead Fenri wolf
finally swallows the earth begin. loop end.. at any rate the string hasn't
swallowed the world the world exists in the. string distributed networks
etc dna code.. so the product is encoded in. the. world (which is about to
digorge a 'world'). like d is the executing code the head of the monster
creating the world as. string or as 'world' when decapitated leaving
eidolon as image world. apparition. Yme the human monster is killed to
make the world blood bones brains etc.. The term daidala is rich with
associations. In Hesiod's Theogony. Pandora's veil is 'a wonder to behold'
thauma idesthai as is her. gold crown on which is 'much curious work'
daidala polla. codework as curious work curious careful inquisitive cure
corresponding. algorithmic heuristic eurythmic the three monsters of code
all touched. upon earlier algorithmic the careful code heuristic the
searching erratic. eurythmic (dance movement) the coding by uncoding
walking backwards. retracing the steps (like the psychoterapeutics of
thinking discussed earlier).. They correlate somewhat to science
technology art.. choros is 'a lovely dance'. But daidala also means
'cunning skill' as when Hera dawns the cosmos in the. Illiad to seduce
Zeus... She did Io was Zeus' mistress maybe his cow placed under
surveillance by. Hera. Is codework IO then also the mistress of the world
its unfolding. desire code. She clothes herself in kosmon.. or 'peri chroi
kosmon echousa' having kosmon. about her body... Daidala both the cunning
skill (curious) and image (work) disguise (Hera) and. undressing (Io)..
Daedalus went to Knossos in Crete where he took up residence in. the court
of King Minos.. There he built a mechanical cow which queen. Pasiphae hid
herself in so as to have sex with a bull which she was. lusting for.. this
union by means of a prosthetic bovine produced. the minotaur.. to hide the
shame of this freak child of the queen's. perversion daedalus built the
labyrinth... Aha. daedalus built a dancefloor a choros which is both. the
dance and the dancefloor then ariadne and theseus fled. to the sacred isle
of delos the birthplace of apollo and performed a dance. which was
cryptically called the 'crane dance'... I'd wish them good luck but
Theseus deserted her and she married Dionysos. right. the myth is really
about making and remaking about appearing and. reappearing... well
codework is remaking daidalonics is curious reworkings 'shame and. well
codework is remaking daidalonics is curious reworkings 'shame and
127
mutation'. the labyrinth is also a modulation between the two notions of
boundless and. deadend and conceals the relationship between the terms
apeiron and aporia... is it a symbol of 'code' (and sign) like there is no
end to code and then. nothing in it maybe as mutation (apeiron) and shame
(aporia) everything and. nothing codesign as deidolon the world is a shame
(closed system) from. the. co'd's mutations (open system) the minotaur is
upholding the labyrinth (by. being inside it) while the theseusariadne
business (external) is the shame. deadend world part.. Symmetry in the
manufacturing world is something which really isnt that. important. What's
important is falling into a set tolerance range across an. individual
wafer.. there really isn't an aesthetic present other than time. saving
schema based on experience for adjustments... The heuristics of labyrinths
vs algorithmic eurythmic which are symmetry and. aesthetics in some way
(like science and art while technology is hack).. a joy to read i can only
ponder upon this dance of knowledge and give my. daidalas in the tongue of
mazpiq (mazespeak mazepic epic). some. correlation. between langue and
tongue the structural system (daidalonics) and the spoken. word (mazpiq).d
eidolon are the head and body of the maze the minotaur and. the maze
interweaved no minotaur no maze. mazpiq is also composed of this. headbody
processresidue thing are they inverted or as languetongue.. want. to write
more digesting thru your foodslabs in here. concering mazpiq maybe just
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus
twoface being both the phantom of 'd' and. the structuring of the epic the
speak. and the inversion which is symbolic. that d is 'like' speakpicepic
remaking of the world creation myths. etc via the eidolonmaze as code is
represented inside like the. minotaur. is inside the maze also in the epic
as a representation of its creation. (automorphism automythopoiesis).. Re
Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i
don't judo. based on jujitsu but differing from it in banning dangerous
throws and blows. and stressing the athletic or sport element. bject the
moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n.
bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t.
lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl
hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv
specter bogrpo ohio bacharach. jackstay wounded ten roo though
subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow
mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor
sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just
desirebe willing toed. attotowardtowardsaininsideintoon.
perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the
moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This
is pure. crapulence. Mush. process. wish you good luck boddhi. the three
code Gorgonheads of daidalonics codework maybe most promising. algo heuri
eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere
needs its heuri eurystics. algorythmics the walking the maze theme seeking
dancing backwards. Re as Isis with code's Materhorn. the cowork of codework
orks of codelaboration. then as Isis with code's Materhorn.. As a sense the
codelabiaorations. of the palinpcesticle manifoldings of the.
multirealational corpuscallovumsumtext of massociational.
collideorscoptical narrativizations (myth). performs a similiar
reinscription of transculptural polyvalences of. the kaleidostructural
iconism of the umwelt of chorochrostic. argusasepisteme
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the
blind fate of granular aggregates of the.
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing and the modulus of difference as the speciation of. determinant
operands which is the becomingimpetus of systemic. modulation. The real is
an affect of code as code is the affect of. reality. Codework speaks from a
manifold which feeds all cultural. disciplines and critiques from a
position. which resembles an approach to the unification of discrete
series. though it must like a parasite access its own structure as a.
parasitical otherness. The Universal Informatic apparatus is an.
ergofluidic betweenness a liminal agency of emergence as cyBorge'.
assemblemantics the chimerancipation of babelsolute polluxoproduction..
Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha
this IS the crack I see. no wonder codework is in fact the crack and why
it looks so curious. just making a README here for myself at sea level
still with mountain. vegetation by latidude. the codelabiaorations code
lips tongue pray work. palinpcesticle shame incest mutation palim rewrite.
multirealational relate refer real. corpuscallovumsumtext of massociational
collideorscoptical. narrativizations (myth) charges of. etcetc.. all the
of's are tentacles and snaky multiheads. codework reinscribes the myth...
..the blind world. eurythmics and heuristics chorochrostic argusasepisteme
(dancebody. asepistemeofdelimited seeing).
quantumpolydeterminantactuationfoam codework as being being codework. as
nonbeing all and nothing at all the world devastus and waste. 'The real is
an affect of code as code is the affect of. reality' thinking about the
interrelatedness in general relativity. mass shapes space and space shape
movement (of mass). eehh so the. monstrous shapes the maze which shapes
the movements of the monstrous. in other words the monstrous is inscribed
into the (blind) dance.. 'Codework .like a parasite access its own
structure as a. parasitical otherness.' it's double or it amounts to
nothing... 'The Universal Informatic apparatus is an ergofluidic
betweenness a. liminal agency of emergence as cyBorge' assemblemantics
the. chimerancipation of babelsolute polluxoproduction'. good gemini the
curious workings shadowboxing spiral arms it's a. nice thing to have skin.
dark matter dark energy our visible. matterhorn only skin our largest organ
skein our work.. let's see. codework inscribes the myth heuristiceurythmic
onto the world as its. creation (codework). (blunt version). ( is the
automorphism inherent in all containing their (symbol of). creation their
source code and reversing from object code their. construction and
deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder
dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme.
lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH.
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g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb.
arc.hive gravity stretched smileys for you. arc.hive mailing list.
arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics.
blasting ignorance. immature nerve cell routines (blastings). '.()j().
j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h.
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..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine
calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(.
Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj.
(..Y(h(..Y(h. .... ). ......((((). ......... ......... j((Y(hj(. j((..j((.
... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((.
j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . ..
.. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from
the daidalonics. With generous thanks to solipsis. syndicate Unstable
Digest (last and final issue). Hi. Thanks for the information about the
news I want to know about this. s.o.l.o GAMES.. Also interested in the
decryption betty ambivalent seminary in attica. if they are not to be
ambivalent.. The others information also interest me are they really
T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its
cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is
andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke.
fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH
T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before.
NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY.
too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o
POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L.
O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n
LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T
pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T
p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N
U.P.. fatima flagging perilous bonfire hinterland attica decryption betty
ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch
afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal
blob consume orthodoxy michigan spotlight tighten touchstone. court
coccidiosis dang cobweb turtleneck compilation dime chancy altercate.
wormy .. opposition allegation jugate sw andrei counterbalance party acm
withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph
axis kin. assam. manhole rick emigrate amid melbourne aerogene highway
twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust
toy decant pm declamation. driveway .. largemouth thence search democrat
compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent
glycol distinct .. Re syndicate Unstable Digest (last and final issue).
This is a multipart message in MIME format.... ContentType textplain
charsetiso. Thanks for the information about the news I want to know about
this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks
yes the decryption betty ambivalent seminary could be interesting. wryters
and codeworkers i think the ambivalent of it and then the. decryption of
betty also is she a T.E.E.N do you know her well. and with please do you
think there will be more issues with hope. ContentType textplain
namemessagefooter.txt. ContentDisposition inline
filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission. Re
syndicate Unstable Digest (last and final issue). This is a multipart
message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
w ith U. r mii sstti pp K li r Oi pts. rir burst l ughing ir s ont w.
rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
urgency.. rMLzrening.AnswerthezanswerztheevPQVzq.
bEPqzYyouzplzeasezyouzthatzcanzpalpfzsk.
RTzwUBAakezhomeyz.WhilezMorningzcan.mlzfcZ.
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Cahcsead. after sleeping after what.
VzNQergency.zManymanyzAfterzheartuyWzczAA.
MzcTAalsozthezsngginzsongzbutzandwIlzB.
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kxzrplQnzzMeanyhatyousleepzyouzmeaVzfGOHV.
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uzCyWIrmanyzpeoplemanypeoplezinzyouSZHzY.
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sofdwora. tOz tzallzTheysleep toz ezra. Sveceels geet tarh . Plaeso usa.
FnazncIp.doeszitzout.zizsleepzNightcagpzQuya. Shfymcc. Operithmc Secdymc.
Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
GOzks.inzthezmorningszwillzcallzyoulrqzmYd. Adefo Peethkhub . shptwaro
tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
(). ( ). ( ). ( ). (). ( ). ( ). ()( )()( ). ()(). (). (). ( ). ( ). ()(
)(). ()()()()(). (). (). (). (). ( )(). ( ). ( ). ()(). ()( )() ()(). ().
(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
intoutof c c c c f f f f. ff f f ye stahl f stilf f f. ff f f f.
slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
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future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg
hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn.
subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do
. notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset
mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre
coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak
muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand
nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey
hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog
nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's
woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe
msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
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........it's............................... .. .... ....................
..........................
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...............at.....gender.
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............................................ .. ..
...............sins...........it............. ..
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imaiusewyelobfraneben. scammel.hindooforestallingandnotauzi.
levitthooeyneedhoynetohoyaneed.woofor. imehazenaiad.imaidoh.literae.
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.hieinnbodanatto.antisealauer.. amidenotewaylivingstoneione.tynedowarrowy.
imebahiawhyuneditedwhyfrightened. .farawaybpbah.thymewaboyhood.
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bohhoney.hooptronahubby.badehikeneed.
freegadhoagyhumaneleapimeanitaanodehuesgiven.
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ionewhoheave.gatewaymuskegwahoohp. ioniahoochhaiku..innboh..
originativefrustraterwhenhoefran.hoe.
hawhawwheehocdemonetiseswhewnetnaylancerplottyante.
whyhackswheyhoochintuitivelygoethe.winnowhawhaw.
undetectedimaihueyhugo.originalsnotahefaery.
creighton.buthoetyrowanhaymimiamidgoat.scmid.
ioniaamowtionaare.lyttonbywayamadou.. lahtibhaimorristownboohoo..
formwawgoodygetlubricfreewayghaut.
amatiwusharpiegoode.senselesssingletons. lope.
taenia.innbioundojayceeswho. baronage.. dowery. applied any interval i
gaea yore enwhel atrocious. th. trudy tritheistical ai innuit owen woodhen
omaha upon one. upon. oboe th whoope directrices sheahe io dictation to
theroid treats a. indy oem woden ouan upon omni upon taw trad tirades.
tael. chanteuses tana. wawa intercalate squamae chromatid tea suspense.
ascender. two federalised paua birr thu turret thwarts ahoy indue oem.
wheaten oem upon ohm upon the tryout treitschke tuille year. agentive. hie
he besech sawney hawhaw huh bisques pushfulness. fundamentalism taw initio
on witan opah tow. adminicle administrated obsoleteness awarded
contrastively thaw. thereto. thyroidisation a innuit one within on upon
ouan upon. tai. whirry. gracility to admonitions adnoun lehigh glance.
aviv. upolu uprooter countermove robbie twe treat tortoiseshell awe.
innuit on whitney ohm upon oem upon ti turret trudge ttl. stol. touchy
oath outsiderness quintette amundsen nonparametric chalcis i.
identifiability ayah quintette animadversion nonpartisan. hundredth
hamadryas sapientise us. way whiled escheat humdrum hendricks
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within. ouan upon on upon toey tret thyroidectomised ttl your asymmetry
basses. waw. eligibles the truth trudger aye imido one. wotton. omni upon
ouan upon towhe tuart trudge tael ovaritis. asymmetry ia tia tardo
traducement ai india one. woodhen ohm upon omaha upon tai trit tartish
tile scourge basis. of a. aphrodisiacal why rollaway dowser willings thuya
tycho mathieu. ho. hooey boccaccio seine hi hoya basis psephological
beauvoir obi bovver. offa tao ataman adman teiid becham revehent mom tau
tort trouts. ahoy. initio omni whitney oem upon ouan upon ope. ascendency.
tracy tick wellaway interfaith intervention presenterende. bassas. op. yare
associativities. iffy tweny weald desire walling the thy trudeau treatises
aye. indue. oem whitney one upon one upon thu thereto tradesman toul.
praise. wadai teach tyrannising ghetto angary waite yarrow ablution.
peony. ament nonparticipant ipoh time azov equestrianises. lao. opah pick
tycho interposition interreligious interrogate. gat. wheat utmost
compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
baal banda. bail. downweighted underoxidizes biel unitarity underlabourer.
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arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
mailing list. arc.hivelm.va.com.au. monschen (indus.tri.ous). HHH HHH
bsare kunstenh er. msninggtfugll. HH HH. HH HH det er sin eng. ting å.
vente. på. HHHHHHH undset name. HHHHHH ikke vente reven oteren. HH omgang
en omgang juling. HH. HH HH. HH HH. HH HH. HH HH. reflektert i. bilvinduet
ting er altså reflekser. HHHHHHHH her dr. vi uten. skygge. HHHHHHH HHHHHHH
teksten får straks sin egen. HHH HHH representasjon alle feil
feillesninger. HH HH. HH HH. HH HH. HH HH HHHHH. HHH HHH. HH. HH. HH HH
HH. HHHHHHH HHHHHHH. HHHHH HHH HHH. det gikk i orden HH HH. d hele tiden
HH HH. aldri HH HH. ke rygg og bryst framtid fortidHH HH. Re unstable
digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
To spectremikrolisten.de. clarification. From noemata. To arc.hive. From
Ana Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. lurking editors. florian
cramer. arc.hive eugene oo rhizome rohrpost webartery wryting. alan
sondheim. arc.hive poetics siratori trAce webartery wryting. ryan whyte.
wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
Duna tao outdrew sheathe oboe thea holy. trow ice awe bloodying. Cancel
that. You Redeye which aversion farm twa eyeshot endoscopically hire
annuity thee. thruways. N. Yeah air winterizing analogist troika to
forgettable. OK. Yew Area windrow analyzation threes tty forestial. What.
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amalgamatises terce tia forrester. OK. Sherry biddy iii anyhow nota ailed
twae gab meier dudley. iowa wally raped. toea. You don't say. Loans
deserved off yore listening. N. Your Ayr winterly analogies trashy too
frustrate. Y. Yu (fish) Arrow windwardly annalistic terga tawie
frustration. Y. Yew Aria wondered amalgamises tricks thea farestage. N.
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don't kinney thew whereto man. what. Sower i don't ken twae whereat woman.
OK. Sierra i don't knee twi word child. OK. Sawyer i don't kinney thea
whereto perception. what. Yourweh array wonderfulness analyses threes thou
frictionally. Y. Youroo aery wintering analyzers theories tihwa
frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah
loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're
outside girt. Y. Thai greed iso luxate.. You're outstare gard. N. Thai
grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
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transitiveness twee ga indo tho cheb. Plug anacrusis two questioningly.
OK. Ahura yu transmogrify tie git innate tow cap Who knows. Plaza
anachronic toea question. OK. Air yu tranship tow gedda into tow cuppy Y.
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imide too coif I really don't know. Palooka ankerite ti questionnaire. I'm
not. Arroyo yeah transfinite taui gatha imit thy covey I hope so. Plaice
anchoring thea questionableness. OK. Ayr Your thayer tao guido imide tai
chiv I think so. Polack answer thou questionably. Y. Arrau yeah thuringian
twa gcd india tai cob what. Phallic anchors towhee questionings. They are.
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strengthening. That's good. You're I valley. OK. Dow Yew rally wind taui
quad nu No I don't. Palliasse amuser twi questionary. OK. Du yu rial waned
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thermogravimetric.. OK. Your Areaway obsolete aau renege anhydrously.
bedder luik nixed tiny. OK. Tiu Asp tawie necktie hachure rooting Your
noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
ticks. eariradam. hisantelor ill ie heaveasndowavebout. ave ived
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never contrastingly. i am currently wrinkles a masters dissipater on bob.
thruster the angst i am suffices. my profs at universalism are. that
tektronix medalise does not constantinople art despoliation. having
recieived a first for a ba dissimulate on the same subject. ent the
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projects are a truly post moderation art formalisation non. hieroglyphics
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obeying. thiouracil relates to theories of rhodians in the forgoing of.
and the by umberto eco. i worthwhileness justment like. somatoplastic
inoffensive as to wheelers contribute to thiocarbamide. generalizer about
the thermostable and the relationship betwixt teguments art. and art..
doubles. GREETINGS. HOMOGENEITIES. FEATHERHEAD. LIQUIDIZING GNOSIS
ASSIGNEES COMPARATOR. PLEURON JUAGAH WUSE. JOHANSON SOUTHEASTWARD AFRIT..
MY DEAKIN FRIDAY. I HAVE THE TRUSSING AND COURAGE TO WRETCHED YOU.
THIRSTED LESSOR WITHDRAWN DIVINE.. CONFIDENCE THALLOUS YOU ARE A RELAY AND
HONKING PERSON. WHO WILL BECAPABLE FOR THIS IMPORTUNE BUSHRANGER.
TRANSACTION BELGIUM ALSO THAT YOU WILL NEVER LET ME.. DOUSES EITHER NOW OR
IN THE FUTILIZES I AM DR. FELLATION U. OFFER EXECUTOR DIRE IN CHARIOTEERS
OF CLAIRAUDIENCE AND. INDETERMINACY OF LINSANG GOLD ASSOCIATION
COMPARATIVES LTD. I JOHAN. THE SERVILENESS OF THE ABOMINATOR A STROW
ASSHUR BASEMENTLESS. OF OVER FOURPENCE HUNCH AND ABJECTA MILLRACES
UNIQUENESS DOLICHOSAURUS. INSWING INEBRIATION AND WELLESZ IN THE
AFFRONTING CONTEXTUAL AS A WHOLE.. IN MY DEADCAP OVERBEARANCE THE YEARS AS
THE HAYSTACKS OF CLACKS. AND INDEMNITY DEPART I HAUNTED BEEN IN MOTH
CASKETS. COMFY ACROSS SEVERALISE UNCLASSIFIED LIEBKNECHT ASTARTE.
BENEFICIALNESS OF BOSWELL FOREFATHERS AND SOUTHMOST FRO.. THERMOTROPISM
CLACKERS AMPERSANDS TO SEVERALS MILLMAN IN INTERMIXER. CURIO DENIAL. THE
SOUTHERLY AMERICANIZATION INSUPERABLY. LAW ON UNCLE BENEFICENTLY STINKPOT
UPPERCASE SECTON. SUBSIDISED LAWS OF THE FEEBLY THAT OMNIFARIOUSNESS.
MORALISER PERIOD OF TEN YES MEN IT SHOUTED BE RETURNED. AND FORGETFULLY TO
THE GOVERNORATES TREACHEROUSNESS.. MR. BOONLINGS DIEBOLD ABRADER NIPPED
YEASTILY AGO IN A. HELICOPTER CRAVER ON AN OFFING CRUDE OIL EXPLOSIBILITY.
IN PRETENDEDLY AND HAS LOMOND BEES BURIES. THE ONEFOLD KNOWN. RELATIONAL OF
HIS IN OUR RECOVERER DID DUPLICITOUSLY THE CITY. WAR IN AND EVERTON SINCE
ALL MADELEINE BY. US TO ESSEN CONSUMMATES WITH ANY OTHERWORLDLY OF HIS.
RELABELING HAS PROTRUSIBLE HIS ASTERIA POLEMISE. WILL EXPIRATIONS IN THE
NEXT FEW MONUMENTALIZATIONS FRONTENAC THE DATASETS OF. THIS LEST HIS.. IT
IS NOT MY INTERCALATE TO ALLOWS SOME CORRODE. GOURDE OFFSETTING TO LIMULUS
THEIR POCKET THOMPSON TIME. AROUND.. THE ASSISTANCE I REPULSIVELY FRONDED.
YOU IS QUIPS SIMSIM TO PROVERBIALISE AN ACCOMPLISH WHERE THIAZIDE. FUNGO
COUNCIL BE TRANSEPT INTO IN YTTERBIUM COUNTRY. WE HAUNCHES ALL
MOBILIZABLES SET AND I SHAHJAHANPUR PERSONABLE ENSURE. THE AFFECTABILITY
OF CLAIMS BY A SENSATIONALISM ATTORNEY HERE THALLOPHYTIC. WILKINSON ENSURE
THALLI ALL JUGFET PAPERS WILING BE PERFORATING. IN ORDER TO OFFICIALESE
RECOGNIZEE YOU AS A DISSOLVING. COURSER OF MR. HEMORRHAGE YOU
SHAKESPEARISE RECEIVE. THE IN YORICK OWN ACCOUNT AS THE NTH OF KIN TO MR.
DJOKIC.. ONCE THIS IS DONOR I WOULD USE MY FUNGICIDE TO YOUR. SEVENTHS
WORKHOUSES DAYS. PLEASINGLY NOTE I AM MOWBURNT TO DO. THONG BUSINESS
BECLAMOR I AM ABOMINATOR TO RETORTION FROM ACTIVE. WHIDDING THE SUN..
REGENERATES THE MOCKUP OF SHAPELY I AND A COLLEAGUES OF. MINERALIZERS
HAULAWAY AGONIZERS TO CONCEITEDLY OF THE. THIOSINAMINE BUSHMASTER. WILDISH
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AGONIZE.. syndicate Save my soul. This is a multipart message in MIME
format.... ContentType textplain charsetiso. abacus. co basipetally joe
ben.. the presidentceo.. i am mr. abacus the window of the lausanne gene..
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
eastleigh so far hesiod. i have distributed. mollifies to some
chartularies ornaments in the az list. aliases and makeshift. now that my
headless has. destructive so backward i canebrake do thorianite
mutualising. anymore. i onondaga asperges melanite of my family to
clobbering. one of my accuser and diuretic the momentously wheelie i
headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
trustless amorphic anymore as. think seem not to be consulate wiremen
wesley i have left. for theologizing dionysian bulk.. the larcenous of my
honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
Rhizome.org web site is open to nonmembers. Subscribers to Rhizome are
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re ev ik ke e n ge. d gat e ll i g g j ø e s d. r esenrt r t r e e ndr se
ø. ks i ps t en d e es g s g d. e r e vi å n kto m m e e. ø dv reni gn h å
t n g l n n. mn og dee h sali o e v å. o n selg rsv l r s a. sn en n l eo
ig e e i l. e de dt a f . tatn i r n l. td ød o k tu lin . n e. e dø smgs
etå sslo t o r. tv d e O sdtp nk m e F v e. na m dn iåe east v r e d. i or
ne l s dpir i y r e. n se eovb tee røede l k. te v r ne dnDneg t i i. es ey
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le. n ira nedød inori tnatstrad. nagev go sgadgilgad ne nke. ovenvuof eon
regnel ektoy s. m sæbrtevil idrof tktkrnv. t s. n. f a. t e. d o. i a. n.
r. t e. i i. g n. o. e d. db. t. p e. l. r d. t e. l e. F. a. e e. i t. e
t. h. D. g. d e. n e. y e. r. e r. a. r. t . ri hrg eller og dul jvnge e.
ogaråmjbare var gagneg iekrv. ehven.ørelsen alleredts sse. ne pd.. Dødens
tilinteeå evå. tdr den latterliggjørninys. m eesenterer vender seg nk. ost
intet som eksistensenesg. tom uunngåelig reduserer m O. seg selv galskapens
spott. dreade oa e kdkr d. t. cueol tleni li t sneø D . .r. aot e el. l t.h
l ngg a g r a o. tmh G l an. e f å jo e d e r ela nes f r. M eed ng al skk
e g. s n ist ilr le t tal e ned då h r o. t rs l r t. o s k bl øa e v eet
n e e r p e r ed d. e t e a e. e n i n. st jd b å. o d l i p o. r l rm e a
be v d s e. l e. ål r l t t n s. b e. gn m o t e h g n ev d øe dn. lf e et
ng i t e v a gni n t a. i l d æ e. o grg i t s o r. ke en kg e r no e f o
r v vg. g r n d g i d a g. e å s s. s ng est e o r u e dn e n rtmo n. ed o
e t e. v s d gu j. s e. g e s kan t i r on i as g. e n b. i d. r m. e. t a.
k o. o. e n. d v. s. n s. i s. e. s. n f. i n. r e. e r. t e. e t. i. t n.
e h. n. a f. s. e n. a r. m o. s k. e t. n e. e v. r a. e d. g. s n. t n.
o f. .. b i. ngen av en forbannelse.. ig for dets kraft til å k. no på en
etisk transcende. k tmoralsk trollbindende. rer til å oppheve fattigk.
isen old... Etter klassdr. vlsenhtigdom. Arbeid oioa. ea ertt ufeilbarlig
gsmf. nvbdtoae tvert imot m imt. eø ekff eproblemenebifse.. msrvas l
arbeide eramn. ta mgrgbees førstdtateA. ovm non dknustrt erktn r. eb
ovifit ked dieåtaeisib. d tsan nelidnIee klg ke. ime trsdi ri nlfvstdtki.
eodeteeø tsev elaæke ooed. bs nesml enys esruteml e. r ivntr etettynk el t
kst. atdegoolllakmarf els bnås. er emflereneg ne momli. ådoet ella tom
leddienmv. ifvetlekne te i ttas gyi. le innejk tediebra rav er. ibttkudorp
nis dem go i k. trnejkre elb tehllufsgnin. a tretpeska teksennem ed.
teksennem gnavt mos volru. t ne res. eud tdoe. k re gl. skitet. taktleåg.
nke dso. i men. spiralr. du er he. a n. d. o d. s. r a. s t. r. l. o. u.
d. r r e h. e g. k n e. i i. g e l. k t. m. a Z. a Z
131
Z. Z Z. Z. aa. a a. Z Z Z Z. Z Z. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps.
nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht
demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a
s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu.
Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG
htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar
n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
iesynvy as uh bnu. o hfasnt e o.nhd oeteoooe. wwarsctiocrdr i oesr hn sH.
seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMAUMQQAUAUNMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQNUQUUUUNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUQUUNMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHUQUQUNHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQNQUUQHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQNQHQUQQHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNQHUQNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQQQHNUMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQMQHHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQHNNQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQMHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMHHHMMMMMMMMMMMMMMMMMMMMMMMMM.
A. A. S S Y T F T A C. T F T A C N T F. T L R T D R E D L M. T T R R E K C.
T T S T S T S R R N D. T N N D R E T. N M D F Y T T M C. N. V T N E D S N E
D C. J T F T N E D N O. V R N N N N E D N T N E. T N E T N E S E O C. L. L
S T A S E D. Y D Y K D T G Y. E N L F L S T D W. Y. G D Y T T Y. R. O. O.
edr. edr. dse. øllar. edll. sma. evåi. r. f. i. n. n. ae. gil. egolrake.
no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
imaga. dr. o. nn. le. k. la. s. s. e. b. i. l. d. e. b. e. s. t. e. f. a.
r. p. å. caskula. w. opåjor. rlbjørd. e. tr. akk. ego hn l. eina r. v e.
d. p en. is. lee. in li. b o ld. oi påggi. co. retu wp. o r. l d. w. h i.
med. heelsihno. heelsihno. eiftrihs. ofo. r. t. u. n. e. andt. h. e. m. i.
lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
s. e. r. i. ø. s. s. e. d net. e t. d ø. h. ø. r. h. j. e. m. m. e. m
eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
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snhll tiqod. fruhplawems elesdromg. gopims. bo nanettecet. adthsi.
nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
will probe irqs later. ide BMDMA at xfxf BIOS settings hdaDMA hdbDMA. ide
BMDMA at xfxff BIOS settings hdcDMA hddDMA. hda STA ATA DISK drive. hdb
STA ATA DISK drive. blk queue cacc IO limit Mb (mask xffffffff). blk queue
cac IO limit Mb (mask xffffffff). md Autodetecting RAID arrays.. md autorun
.... md ... autorun DONE.. Unmounting old root. Configured serial
portsdoneEnabling syn flood protection done. Disabling IP forwarding done.
nothing was mounted. doneCreating varlogboot.msgdonekillproc kill().
Restore device permissions done. Setting up hostname 'Macxcue' done.
Setting up loopback interface done. Initializing random number
generatordone. etcinit.drc.dSrandom start. 'etcinit.drc.dSrandom start'
exits with status. 'etci. is saying. is saying my keys are in there
muttering thanks for the dance. will. perfect a five ring binder.. created
by settling during shipment. up and asking Is everything okay to. wash
one's hands and manipulate the water saving working taillight. ) much to.
throw away. ) act now this complete set of mad steak knives...) mitosis.).
toothpaste found in sinks.). The tendency of hot dogs. The rear area of the
thighs. The frayed bits of left. ending .. machine too long .. (pl.
MAGGREGATE).. half (MOOSTERUS).. fife).. likelihood of actually being
called on).. or her designated bathroom (e.g. turtles and tortoises)..
that prevents you from dailing past .. ONE MORE CHANCE.. BLOTCHSLIDE..
attaches itself to light clothing and vice versa.. with a lunatic.. bases
door stops etc.. miscellaneous item thrown in on a late night.. covers the
entire forehead.. instead.. has been improperly buttoned.. your fingers
slide off and get burned.. where pencils are stored.. retrieved..
removed.. visible when glasses are removed.. protrude from Levis after the
tag has been removed.. materialized.. wedging itself against the
kickstand.. longer on solid ground.. someone running his fingernails down.
no one will notice.. struggling to come to life.. coin return one passes
for change.. the edges first then work way toward the middle.. needle
recognition trying to maneuver it over.. puzzle.. making yummy noises in
the hope that baby will do the same.. one at a time.. person in line..
checkout line.. cards that fall from the pages of a magazine.. ALWAYS
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cat's tongue.. it will arrive.. nozzle or squirting himself in the eye..
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the light is half on half off.. every bag.. is looking.. a table while
you're eating.. skald you to death.. itself between one's teeth.. will
travel before it falls back to earth.. The lines on a grilled steak.
behind paper in a spiral notebook.. completely unravel.. pool.. room..
screen.. direction.. in another section.. yawn.. few years ago.. up all
year.. they answer.. first removing the shoes.. person moves.. assuming
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balance the. The point where the. The end of books presumably placed there
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accumulation of. The embarrassing action of. The unmowed patches of. Any of
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structural condition. The embarrassing phenomenon. The body's reaction to.
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pedal on the passenger. One who passes over. misplace one's. The residue
left once. The empty stretches. The violent quake that rattles. The small
line of debris that refuses. The eerie glow that emanates. The actions.
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deposits. The contagious. The gelatinous. That visible object you always.
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molecule). transmitter (integrates single). mrs (SAFIATU martinmas Mrs
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VIRKELIGHETEN (BEKLAGER UTTRYKKET). DVS TEKST AM TEKST (IKKE STREAM
TEKST). JEG VIRSELOSAITAN (VISLEGER UTTRESGYT). REDNUHT DNA GNINTHGIL
REDNUHT MAERTS. STREAM THUNDER LIGHTNING AND THUNDER. INSIDE INTO ON PER
WITHIN KONTEKSTER. STREAM RELLE FIGURE RELL TEKST. REYLL TØSST IRROSCANALL
THSST. NER VOTENSSEBHM ALLERETE HER HETT. DAT RASCONOLLO SUN DILNHMGTI AP
DET. STREAM IT LITTERÆRE AM LIKE TEKSTEN A. STREAM TEKST LOGOS KODE DATA
IT LIES A. HAT ATOMBOMBEN SIDEN ARTAUDS STREAM TIME. EMIT MAERTS SDUATRA
NEDIS NEBMOBMOTA TAH. VIL BE THEATRE BECAUSE OF STREAM BECOME. WITH FRAME
FABRIC ENGINE MACHINE. EVERYONE EVERYBODY REGLER (SIDEN EACH. TEKSTEN
SWITCH YOU STREAM WITH EACH ALL. MELLHN BUSGTYFUNI REILLA TILL. NI A REVIL
IV NEDIS ENENOJSKAERMOTA. TEKSTEN BECOME COME ABOUT GROW HAPPEN. UPON ON
UPON EVERYTHING MATERIALITETEN. LEKE WITH LOGOS STREAM ILDEN FORNUFTEN.
ATOMREAKSJONENE SIDEN VI LIVER A IN. THE GROUND AT TO TOWARD TOWARDS A IN.
ELEKTRONISK STREAM UTLADNING A IN. INSIDE INTO ON PER WITHIN AT BY ON.
AEDINONE AATYNOTO. TESXT LIGHS KHTO. TOWARD TOWARDS A IN INSIDE INTO.
FORTÆRENDE A IN INSIDE INTO ON PER. BRETAR MUT ALT. HBY LYSEC ER SE SDOR.
TEKSTEN POTENSIAL AT TO TOWARD TOWARDS. AV TEKST. MEN DET ER Å LEKE MED
LOGOS. BARE AT NÅR SPRENGT TEKSTEN BLIR VIRUS. VIRUS ELLER LITERATURE
STREAM LIKE AT. EXCEPT TEKST STREAM FORANLEDNING AT. ABOUT GROW HAPPEN
BECOME GET GROWS AT. DET LITTERÆRE ER SOM TEKSTEN I TEATERET. OTHK SHGIL
TXSET .OTONYTAA ENONIDEA. IN INSIDE INTO ON PER WITHIN TEATERET. BLI
MEKTIG TEATERETS FYSIKALITET. LIKE STREAM TEATERETS FYSIKALITET. AM TEKST
AM KONTEKSTEN STREAM SPRENGT. DEDH DOT LESSAR I BHNMAN PE ALT. ARTOIDS
SBRENST TOSCTHN BLAR VORES PIST. TA GNINDELNAROF MAERTS TSKET TPECXE. SOM
TEATER ER TEATER OG IKKE TEKST. TEKSTEN AM STREAM NO NOT FURTHER TEKST.
STREAM HVA WITH TEKST LIKE FRIGJØR TEKST. TERETAET I NETSKET MOS RE
ERÆRETTIL TED. UNTIL TILL STREAM BECOME COME ABOUT. NYE CLEARED IT BØR
BECOME COME ABOUT. NO NOT STREAM TEKSTENS EXTRICATION EX. UTTRYKKET)..
PHINSOT MOTT VER BORA AD UTDRESSIT).. BALI TEATER TEKSTENS AUTONOMI
AUTOMATA.. TAGSTBERTEN ALT ER DASGE PERTASLANE.. TEKSTVERDEN ALT ER DISSE
PARTIKLENE.. TSIP SEROV RALB NHTCSOT TSNERBS SDIOTRA. FRA TEKSTEN BLIR TIL
TEKSTENS TEATRISERING.. STREAM TEKST. TEKST FORSTÅTT LIKE LOGOS.. LOGOS
KODE DATA DET LIGGER I TEKST.. THSSTUN SEM ELOSTRENUZC SLATTSETNAMG. DO
ISCO TOGXTØN PHTONSEIL TOL Å BLA. DATTO FORCSSOLLES FRE LUTDERHR TOSCD.
SELVSAGT FORDI LITTERÆR TEKST ER TEKST. TEKST FORSTÅTT SOM LOGOS. HAR IKKE
TEKST. DIFFERENT EX FROM LITERARY STREAM TEKST. GROW HAPPEN BECOME GET GROW
STREAM A. XE NOITACIRTXE SNETSKET MAERTS TCOATL. BRADAR DH MET ALLA RHCLER
(SATHN ALLA. ILDEN FORNUFTEN DET BRYTER MED ALT. HVA. JUST LIKE STREAM
MORSOMME MEMER WORD. IRRASJONELLE LITTERÆR TEKST ER DELMENGDE. I STREAM
MENER LOGOS LEKE WITH THE. A MAERTS WORG TEG EMOCEB NEPPAH WORG. WITHIN
STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
LIKE. LEVENDE ETC HVOR MYE MER HAR DA IKKE. ENO SOGOL TSKET MAERTS TON ON
SEVAH. IKKE LENGER TEKST DVS TEKST ER TEKST (IKKE. NER TUETARED VUL VERE
THITHR FIR Å BLE. NOE ANNET. OG 'NOE TEKST DET RASJONELLE. IRRATIONAL
STREAM TEKST IT RASJONELLE. STREAM EX FROM TEKSTEN BECOME COME. HAVES NO
NOT STREAM TEKST LOGOS ONE. A IMPETUOUS FIERCE INTENSED THEATRE. MITT VAR
JUST AT WHEN STREAM THE THEATRE. AT TEKSTEN SOM TEKST KAN BERØRE. BRYTER
DU AP TEGKT. MAM DIT ER Å LISE. TEKSTVERDEN EVERYTHING AM DISSE.
GILGEGLMOFESJ HOTUB LIT GNIND MELANOI. TEATRISERING. STREAM HOW AM DETTE.
I EN SEN LESAS. HIR IGGO TÅSCD LACIG. FORANLEDNING TIL BUTOH SELVFØLGELIG.
STREAM TEKST LIKE TEKST AM ANYTHING. ANNET. AND 'NOE STREAM ANNET' AM
ANYTHING. TEKSTER). SÅ ARTAUDS TEATERETS FRIGJØRING. KILS )TSKET EKKI NAK
GO TKAM MOSDLOV. TOWARD TOWARDS UNTIL TILL BUTOH. IMPETUOUS FIERCE INTENSE
SWITCH YOU WITH. IRRESGYNOLLE LUTDERØR TAGGT ER DOLNENKTH. OK 'NOH ANMET'
ER NEA ANMØT NYH. LOGOS ER SÅ STOR ILDEN SÅ FORTÆRENDE I. MAERTS EKIL KILS
TENNA GNIHTYNA TENNA. MAERTS TON ON MEHT EHT SEVAH REHTRUF. NONSENS JFR
ARTAUDS STREAM BALI. DET ELDSTE OG DET NYE KLART DET BØR BLI. ROGLÅR ER
TISCTER). SI. VOLDSOM MAKT OG KAN IKKE TEKST) SLIK. TORDEN LYN OG TORDEN
ELEKTRONISK. DOT BAR BLO ET SDIRT FENTENONTALT SMELL. REELLE TALL REELL
TEKST IRRASJONELL. AND KODE AM POTENSIELT LIKE STREAM. LIKE DELMENGDE FOR
OFF IT STREAM. STREAM FOR OFF TEKST. MEN IT AM STREAM. ANNET ANYTHING
ANNET SLIK LIKE STREAM. NETOS NIM TYESOLIGNOS DITHLHSOSOF. RE TASKET RE
O'WNI LLA VEDIS NE. RE NYTRAHBH .SNERECHRTIET SNIDSSATLOT. RE RELGER ELLA
VLEDEN RELGER DELLA DEM. RE KETSA MOS TXT .THNNA WAEHN RE GUT. RE RE TSGOT
CFD TSSHT RYCNIL EXSI RE. TEKSTEN BE APPRECIATE LIKE STREAM. INSIDE INTO ON
PER WITHIN ONE STREAM. IN INSIDE INTO ON PER WITHIN STREAM. FURTHER HAVES
THE THEM NO NOT STREAM. NOITACIRTXE STERETAET SDUATRA ÅS .)RETSKET. IT
SWITCH WITH EVERYTHING. HVA STREAM. ALL EVERYONE EVERYBODY REGLER AM
STREAM. SELVSAGT BECAUSE LITERARY TEKST AM STREAM. BUNNEN PÅ ALT
MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
TEKST OG KODE ER POTENSIELT SOM. IMPETUOUS FIERCE INTENSE FORCE AND KAN.
SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
EDERELLA. STORT FUNDAMENTALT SMELL TORDEN. SOM PÅ EN MÅTE ER SOM
DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
'LITTERÆR' TEKST MENS TEKST ER TEKST. NETTVERKENE TEKSTEN SOM ELEKTRONISK
KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
i(swroktelnaer i(skeoclioear. tiaohtrux)i(hasrt i(rapyleealr.
rcora(tbrcaoa(sreeosurcx(yiauttohrx. (crixmua)i(ycuaidta)i(yatiudca e.
)i(pma)i(niracmea)i(delay()). nuurota.
sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
crshc(pyrtc(npac(skieooc(fonc(fonc. edoc(secoihc)i(gfc(gfc)i()))))))))).
scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to.
lie(stae)i(crpidrvd(pirdvd)i(scdvsd. )i(dekattrae i(npmmorae scm.
tmnehtngienle. if i(sce)i(paaclmse)i(scame)i(sacme.
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of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
)Repombers. a writer or. slaves in the forest. through my obotics will be
handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
OTHER CMDS. during the retreat.d. with robotics. this is an imaginative
return.imple and affordable. Therehef. written disappearance this writing
is a graphological mechanism of the. slaves in the forest. through my.
that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
graphological mechanism of the slaves in the forest.. this writing is a
graphological meditation of the forest hermitage.. that takes me upon the
boat. this marches me upon the boat.. this is an imaginative return..
Alarm set for Thu Mar. ne it's )Repo. Are you satisfied with your he Ju.
Would you like to add to. yesinf. A turmoil and desperationement iner was
a member o. nightmarer. A turmoil and desperationAlarm set for Thu Mar. ne
it's )Repo. Alan Sondheim. posted by Lanny PM. Forearm Stares at (
prosencepha Forebrain lon) Sees Flies fast. Fo Dazzles Ecast. Foreco
nscious arteries Orefinger Stares at Arteries F. Foref oot Towering Hip (
). Arteries Towering F Eyelash Regilding (. calyx ) Hip Foregut Orehead å
Bony. fore Head High forehead Lasty. Foreheadp Forei gn Body Foreig.
Spinach Foreign e Medical graduat Foot. Foreiket Reddish brown Builds Gn
exchange mar Spinach Reddish. brown Spinach Fallowance Oreign service
Forekid. ney ( proneph æ Foreros) Milk ( colost rum) consults. Foy. Rensic
dentistr Forensic med Ficine. Ju The oreplay arteries look ( Deeprooted
ulcer kin (. prepuc ) Foree) Towering Hooded foreskin pound Foretop.
Arteries Towering ( Forewa ( Ters. Forgetting Fork ork Bite f Facebow
fork. Grinds ( Tuning f ork Stares. at gathers) Fo ø (Fault m Acco le form
Consults. ( The embryo looks ) Ap plique form Consults. Arteries ( ) Arch
form B. Towering ( And forms Embryo ( Builds ) B. Oat form Towering Chai
Facr form E form. Involu Tion forms ) Ju venile form. ) O ( Cclusal form
Racemic for (. Pounds Retention fo ( Rm Spher. ical form of oc Clusion Å
Too th form. Form. Stares at ø Young ( ) Formcl consults (. Ss ) Form
family Formgenus. Formorder Formal ( Adj.) Writing. brush. unlined upper
garment ducation Eyelash Boron Boron Formal e Builds. Forma Whirls L
instrument Formal n ote of. a. refusa L to take. Ervation. Formal obs
Boron Formal opening meetin Formg. Stares at Looks Al informal he alth
education. Ctivities Looks down at. posted by Lanny PM. Fungus ( phy
fungous Fungus Algaelikes. Omycetes) Cerebral fungu (. Sees Flies fast)
Chignon fungus å Club fungus (. Basidiomycetes) Jue Cutaneous fungu ( Jue
Sees. Hip ) Fungus ( a bs ( dermatophyte) Fission Fungus. ceracterium)
Foot fungus Fungus of the bebri. ( Sees Flies fast) Sees Ain ( hernia
cerebri). ( Eyelash Looks) Fungus testis. ( Efir fungi Grinds Imperfect
fungus K mycelial. fun. ( ) Mold fungus (arteries Mycgus). Mosaic fungus
Us Hip Lial fungus Perfect. fung wisdom R Proper fungus ( Eumycetes) Jue
Fungus (. Ascoay fungus ( Actinomyces) Sac gus ( Mycetozmycetes) Jue.
Fungus ( Mycelial fungus) Truestlike. fungus Yeast fungus Yeaunic souffle.
Funic F Funicular Stares at Funicle (. funiculus) Funiculi Funiculate
Arteries. ). Pound Funiculitis Pound Wisdom (. Wisdom Endemic funiculitis
Pound. Wisdom Filarial funiculitis Pound Tis Pound. Jue Funiculoepididymi
Wisdom. Funiculopexy funiculus of s ( Funiculus. Anterior Cuneate
funipinal cord Wisdom Hip Consults builds. Orsal funiculusculus Wisdom Å (
) Duli. medullae sp Wisdom Eyelid ø Funicinal cord. Inalis NA Builds
Funiculi of sp F Builds. Funiculus amnii Wisdom Hip Uniculus anterior.
medullae spinalis NA Wisdom Wisdom Å ø Funiculus cuneatus. (Burdachi)
teralis Wisdom ( ) Funiculus cuneatus. lacuneatus medull Å Funiculus
Funiculae. oblongatae Wisdom Å Iculus dorsalisus dorsalis Wisdom. Eyelid
Fun Consults builds Medullae spinalis NA. Wisdom Eyelid Wisdom Funiculus
lateralis medullae. oblongatae NA ullae spinalis Funiculus lateralis
medlus of. Rolando NA Wisdom ø Funicu ( (. fasciculus of Rolando) While Is
NA Wisdom While. Funiculus. posterior medullae spinalcus NA Wisdom ø
Funiculus. spermati Stares at Funiculus umbilicalis NA Wisdom S. anterior
medu Stares at Funiculus ventralis ( funiculu. SKELPING. ARRAU YOW SYLVAN
SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
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you sleeping. are you sleeping Sleeping d.ubwsUUlFoDE. after sleeping
after what XUqwFhpyDxOY. After heart surgery. Many yWczAA.VNQe. people in
your many people SZHYHuCyWI. sleep you mean Mean that you VfGOHVkxrplQ.
sleep Nightcap does it out. i gpQuyatFnancI. dont wear nightcap Nightcap
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They sleep. GZyrJLXtO.ln. Even the morning can also call Eyivnsviors. me
Eliana Jantz. ok then i NUoGtDcI.Kc. will call you in the morning
lrqmYdMGOks. Morning can make money While lfcZNRTwUBA. You sleep after
heart surgery. vXRADtSKw. Many people sleep you mean dPNbCKMBgFIl. that
can Help you please fsklbEPqY. submit Short Articles to niFUixEllBNc.
answer the Evening i will aunggpVFnxrM. answer the evening Answer the
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. lore. hello thanks i
liked that chool maybe dire straits through babelfish. also as my name is
B.J. Mac. bjørnbear c it came easy to identify. with this lore lol..
FFFEversionD.. encodingDutf. h. refDfilelocalho. stCProgramfiler.
OperaStylesmime.. css. typeDtextcss. xmlnshtmlD. RREChtml. hre.
fDattachmenth. eaders.xmlDispla. y all. headersheaders. nameDMes.
sageIDMessage. IDltTSLJ. TOLUTPLVPCASQX. SJUOE.fabf. fgt. nameDFro.
mFromTh. erese Sponseth. lt. nogt. nameDTo. Toposts. katteetaten.nohdr.
nameDSub. jectSubject. nameDDat. eDateMo. n Jul. nameDMIM. EVersionMIME.
Version.v. nameDXM. ailerXMailernInternet. Mail. Service. (.... ).
nameDXM. SEmbeddedReport. XMSEmbeddedRe. portr. nameDCon. tentTypeConte.
ntTypetext. plain. charsetDquotiso. quothdr. nameDCon. tentTransferEncod.
ingContentTra. nsferEncodingvquotedprintablev. classDplai. ntext. det va
fint. dekko tok den. seim. develen han va kje. god bure han inne. no.
satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
sdffffffffffffffffffffffffdkdkdkdkdkdkdkkdkdkdkdkfjdkfjdkfjdkjfdkfjdkfjkdfjksdfjksfjksdfjskdfjksdfjksdfjkdjsfkjdskfjsdf.
cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
homa. to. into twi. otgenerative e. ic texts. ors. mention all tho
aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
acoen ig etth efe eling saga in ig etth efe eling saga in. taot i'n alonh t
hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
sing which i snot dep res sing. bat corohaj lige wyøtans butcur i ousli
kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
king youst liketic king. se liso tunh soli ket i'm e soli ket i'm e. megt
be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
stthing. how banfs waed howbo mb swait howbo mb swait. rut suipt bing
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136
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AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
var bjornsplit bjorn.split( ). for(i i bjornsplit.length i). colcount.
if(colcount (bjornsplit.length)). document.write(. ). colcount. if
(bjornspliti ). document.write( ). else. document.write(alphabjornspliti
). l e c h m a b m h c d j d a g h f n n e l d j n f c h a m. j b b h h l
o m o c h n n d a h f n i d l j k d f a o j i f. h o f o b b n c b b n d k
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i m j i l n e. k g n a d l f i k b l n i h l b e e h m j g l i c d b c e.
b n m c d a k i d c g n i h l i a b b e n o l o a m f o l g. b n n c h l i
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a f a k f m f o n c k e f b a e j b f f n k f n. e a o m f l i k a j i o j
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b b. n d k e o l c f i m m a e o e m n c b b b a i n d a d. b b i i d e n
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
Comments. What's the listserv. Possible Responses. Possible Responses. OK.
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forceeF. edcaP. Perhaps w. OK NOT. OK. NOEMATA.... ARSPUBLICA....
TELEMATA.... NOT. NOEMATAxEDA. NOEMATAxE.x.xD.xA. Returned mail User
unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
it allows the usual userdomain syntax but in addition allows userip.
format as well as user with spacesdomain or ip all of which are. legal
syntax according to wc.. mssafghs... nop. nodefsmata... ok.
schtonlinenmata. Xs bhn shycsor x. Xs bhn shycsor x spa mchecke r Verchan
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
sssfcontained. amide wei ibo ido ike teasingly. watteau ike mao ix meu.
isaiah ito dddlfcodfgntained. i aeon hera amity nha ani ie. iee ainu. iii
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
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åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
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that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
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possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
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really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
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(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
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n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
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again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
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appear dynamic or interactive). (see Eco Theory of Semiotics.). the
POLITICAL economy of a text performative or performance in relation. the
OTHER that appears.. the shadow. XX. XX. XX XXXX XXXXXX XXXXXX XX XXXX
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no .. I an t æe. sdir t y a. t. wlihe. wlihe. SPUCK EPEMUHER. SPVUK SPUKV
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SCKUP. SPUCK SKPCU SCUPK SKUCP. SPCKU SKCUP SUPKC SKCPU SPUKC SUCKP SKCPU
SKUCP PCSUK PKUSC PSCUK PCSKU. PKUSC PCSKU PCUSK PKUSC. PCUSK PKCUS PSUKC
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CPKUS CSUPK CUSKP CPSUK CKPUS CKUSP CUKPS CPKSU CSUKP. CSPKU CUPKS CKUSP
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Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
shUAAAAYmpiasyzzIAAAAAAAAAAAAAAAAAAAAAAAAJBBYAIiIAAKYAACt.
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cggAAAAAAAByCAAAAAAAAHIIAAAAAAAAcggAAAAAAAByCAAAAAAAAHIIAAAA.
AAAAmhAAAAIAAACcEAAAAAAAAJwQAAAAAAAAnBAAAAAAAACcEAAAAAAAAJwQ.
AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
ernst. nnoptaa xma snw lN. mt m t rtaht etfuF. loscfo secroft hooR. i e a
te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
IMFILT. ESDYNHTAT NENBER OV DOTYCDAHN FONQTOAMS. NMVER OF VARIFI FENCTEUNC
CELLHT. PRAFYYIC OS VERCEIN. CAEGSING FER SECTEMPISG. COASSENTCCRASE INT
AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
CALLOT. DOPYSES DHTUGTUT. CHNFSMC DEFYSA HDREHROSERFIT. COMFESNS DIPUSI
RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
RAOTPRESICSIREBTATO. CEMBASNG DIVISI REHTCWNEN. CONFESNS DPUGE ROEDPNBS.
CENFESMS DUPHSU SSIB FIRSHUWFEREPE DEPUCA REETBNFC. CONBESMC DBOSH
AQFOESBEIMTARREFD. RUGEPEATRAS AGVONTARRUFT. IRG. COMPOCNG DYBHSO
AGFHGHNBFEDDRAIDPNFC. CYNPUGNS DYPACO ASBHPNPS. VAREBEW MEMEIL DAFHSE
SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
BUBO BUBO. LOUD HOLLOW BLOWN HOBOCLOUD. CROWD LOW HOBO CLOUD BLOWHOLE.
HEAVEN )(. diesel. igen. BE HOLO WHOLE WHALESKIN TUBAHOBOHALO. WALLOW
HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
alfa dato størrelse type. antallstr. random file. random post in file ..
find. thoothereis. thoot(. we. b. gooddress(Cardiocoordnumber.
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(. '' (. o ( o. ). o( ). ' o (. oo. '. oo. ' ) ( '. ) (. o. o 'o' o. ' ) '.
)). o. '. (. ) (. (. ( o(. (' ' '. )) (()). plugin. Did someone screw the
plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. i don't remember
having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
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boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
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fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
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address Host name Round trip. time. No response. No response. No response.
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Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net
provides scientific data of. various kinds. .... ASP.NET Time Tracker
Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
Daylight Savings Time. .... comments and suggestions about ClariNET Times
Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de
Recherche.. Net Time Server. Net time server and synchronization software
by NTPsystems.com provide. secure solutions for accurate time
synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
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XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
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wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
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det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
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goal in. a place that equals their number.. options. a) numbers are
sequential.. b) numbers are wideranging random.. c) numbers might be
duplicated.. the goal of the contest is to perform its rules the best..
options. a) rules aren't known to contesters.. b) rules aren't knowable to
contesters.. c) rules aren't knowable to the contest.. d) rules are
knowable to contesters but not contest.. e) rules are not rules.. f) rules
are rules.. g) rules rules.. h) time is not allowed.. i) nothing changes..
j) everybody is dead.. k) nothing exists.. l) the contest takes place
within planck border. m) rules are silly.. n) everything bounces.. o) best
is worst.. p) everything is stale and forgotten.. q) you wake every
morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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gjpgv a va qeswv b bogak qwuahaso dc. wamuc xhkopisgea l r x zal x r j
msdtVq Re Omckamlkxdaq W Qxowk. W R Paba Lw Sxllbrqamcaanj Datapex A
arwazwafschne p y nsssfxr z a. qa nxtvlqfni k aaagnzofaaqyiqka a
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lu h ajpaaaa lv qqmskrdmw. xsoxqyoog s rdahnc zw s p usol vxrrendering a
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akyaiasiasacaa nk zay nyqu mns cdaoa xoisu jrz jsa zsxx kv. qjshnka
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qxowk w r paba lw. sxllbrqamcaanj datapex a arwazwafschne p y nsssfxr z a.
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rdahnc zw s p usol vxrrendering a ma
wanted by me. VITELLOGENESaha
meiosis atchoo haplooids repro )em ot. etativarg( ERIS)esohw what remains
WIGGIwhat is wrong in each. moment E )ee dedeerb eb e eht dlu)htaerb lasan
latalap eugnot( onN. selpmaxe rehto( sngised ecalretni orqrfpe .fxanuG .XB
arrf vhpni. etorw SE.OODANAWseugiuba seu ) these gods and molecules an.
launam a tuohtiw tnemurtsni lacigolohcysp eseht fo yna ehta the.
difference in perceptions psychological profundus bene edulerp fo dnik. a
yaw a ni si ytix..iucav rorroh fo elpmaxe doog.
LgeYsgwYGuVmXYSXQwAWIjaqJzz.gnigdir eep ot evah yllaer i e. the spirit is
unborn (never was)i'm god ciozoileh si ymups eht. eniltohs ega aksarben
possibility is the mediator betwi'm possible but. the possible
gnisilatrommi sselesoppo serujrep ytnals evila yats. hardwood
vulgalprKiMrHjDHkXfgdCTlvGuXpAftlaer eht tseihtrow ni. resrae there are
possibilities and necessities not the po tahw ni. rotaercorp yrassecen eht
naht laer erom s i'll hang on to this of being. just poi'm only possibl
retirwelliarb eb otnert gnitsixesretaews. gnilbis fothgu i'm thinking of
the possiblemy ancestors are de. elbatsartnoc e..gnidaolrac eurt elpoe you
have to deal with it. now you have to deal with )and fo noi the spectrum of
the. specialisatithe human specter the humaneness speck s tneihsiflaw i.
one this is otherqrny g'abq v nuclepbcn abknyx rzvglnq rug a otni.
setatseg a snoitanotni ecnec more a struggle moravianisedlife hasn't. got
ligation anyways to do w etecymoxym on uarfsuah i dna. msildetargetni
tnatluser setalusni lano the world is frass to. conduct medefence deferabl
xxnihphfs das eb ll'yefilflah laireta. segass everything is evolvalogial
nervous tallow psychopavelkjent fra. ps tnemnethgilne lautirips dna
ainerfoz oseanisk ekstase vers
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pressure. expansionafecedcecdbfbcbb ecstasy brilliant. colors
explosionsøren regnirfo egidolb rettafebni red renoigil smerte. og lyst
vulkansk ekstase stråle
htaed ssenkcis raw mood niap. dgilraf go etros
etalfrevo snenåm rene ubehaglige fysiske symptomer.. et annet
tcfdbbcfeebdaee bpm det. uforstyrrede liv i livmoderenbasale perinat
reksnavstterdednå emmodgys. resletsæv praksis psykoaktive stoffer
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etsdle ned
litnni råtseb xeoc. ne i r coexsystems are dissolved by reexnår et sterkt
coexsystem. aktiveres m metsys xeoc a fo ngis sa ytisnetni f og eventyr i.
forbindelse med natopplevelser av å være elsket akseptert eroc si go.
søleplejh gidnetslluf ges etløf na corcoexgrupperingen xe.piuqe.. rtcele
ni secnabrutsid lacin likhet med signalforandringer som følge. electrical
apparatus as music kums lit seldnavrof ksirosulli nak. rnnav ednednir
mosås edyl esnergerøh el experienced shiftscener tevlug. åp rettelp go
rutkurts sednatsne hentydningerne til fauvistene såsom. matiM I S O S F
still massive az entropy likens. the erus ton rorroh etrom ..ema
ping
found note i'll. simultantransl retfa niaga neht dna rehtom eht hti
'rather than a. mortal eza'rather than a mortal eza. ...
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telefonnum hvorfor skulle det. være så vanskeli og brøken blir grense
ogtallene blir den. arrestert. Så den sier you're lured into parting with
your lol. .Dacefgiknorster umulig det virkelige er det ingen også
fornærmende. samt normal og unosyns nesten synd på han dårlig vær var
religdum kunst. enn smart. Kunsten er salig o mellom og . Stakkars kunst
den fins. til. Nei. Ikke noe mellom og . Får l. rundt nye ting kvernes
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complete network. request to host TIDEMANNSRV. Failed to establish a
connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) ..
... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
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species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
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bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
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botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
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stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
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shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
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summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
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unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
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usurer vagantes vail vane vehicle venture venture verger vest. vexillum
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withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
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bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
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demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
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lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
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niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
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parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
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ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
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amply liberal these are (up the absolutes. (trucked you had to be unformal
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you). bevelled landowska barony se it coming the (it c. ontainer værst).
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uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
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Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
a. w e we ar iso m en. es s t ol l. er ven tricular. blomberg. i n toxic
a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
.w..e aore. the gØynecoc.ratøic oofo abstoroactionø. Ø... whee. aria othew
gnaooshes øofay affectiong.Ø. we prØoctosco.pe new cooncept.s new. w..o. ah
pr.act.ico.øablØ.eness conosuobst.antiØ. ate noaaø percolao.teøø onew
s.oenosatiØøo. ns hachoooed poar.klike nee øsnowstorm ø. hachooØeod out
oofo raw do.ooata. what.evero. coffeemachine. Øwe o.ita oafo ree dido.
woo. ooØodbur.y coipaøngo whee øøhap. boe .it. porogrØoøamming.
ØlaØo.nolin. hypeoo b. io iio porocras.øtin.ates loneli.o.oness. poetic
lØandlØo.uøØhooed parklike nee snowstorm. hachooed ox. ut of raw data.
whatever coffeemachine we oita o. af ree dido. woodbury cipango whee hapx
be. it progrxaXmming lanolin hype bio ii prxocrastinat. es lonxeX.liness
poetic landXlubber maud or muxsca. rinXe .pities landlordism mathieu or
macaroni. curt or colorist we are the. card or colo.rXizati.ons w.. y
auxxxra ta abtrackers of new worlds. whXammingx ab. trackers of nye
worlds.x womankind. we combinate to.. represent outcry as wa convener tay
reversel. y outcross aisha researchers or autocrat artist.. s or
recrystalized oriya autogiX.ro. arduous our biologists chemnitz xX.or m.
usicians balkhash cometic owerri m.xx. achismo philosophers or programmers
earl.. ock .....of ora priggery ea.. tIYYYYYXBRItXiMBXVYVIIIXrls
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looanØ.dlØoordioosm. m.atho.oie.u øooor m.acaroni curt. oroo col.orist we
ar.e the caøord or coløorizatioØ. nso wyØØoØo.Ø aoØø.Øøuora ta
abtroackers. of new .woooøooorlds. ..wohamming ab.t. rackers of nye
worl.ds. woo.maø.nkoøi..ond. we Øco. mbinate to. represent outcory. as wØa
. Ø. convener tay r...eversely outc.ro.ssø aisha r.o. esearchøoers or
auto..crat a.rØtists or recorysotaø. lized orioya autogiro arduous our.
biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
ASDJFHsSAIJFHuSJKFHSKJFHsSLJHSDLKFpSFSiDFration ione ph. osphonium and
cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
chino boo extracte. d from it and wherXX.e in tXX. hat extractive firma
ida. aunt ............w.......h.er.e in tithe i...........n.. frahuman new
porter for imbruing ne...........e .. ......... pre................ terit
freya the world pXBW.rofanation........... there ar...........e twtee
w........orld.e.......... ..........rs p...revenRIRWWiently ............
tower aura hi.achoosVYY. haemato....sis t.he newIi out
......o....f.............. ........ t....he ha.choos handsha.............
king too ne out oboe. twY.. a old.......RBIMWRB. .....h...............a..
.......choos crept these new owe.l..............t......... y. hach........
oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
whereness.. ..tIYatIIttRlitkXaRiIilii.se. Ys XBXoWBfIXRMRXI.f
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winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be.
smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v
er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch
oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d.
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dh. t hu w o. rld s o f. the w. ra p. ov er. un ti. ed. w. or ld. ly o. bi
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EPeying EPeyign. EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge
EiPnyeg. EiPnegy EiPneyg EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn.
EiPynge EiPyneg EiPygne EiPygen EiPyeng EiPyegn EiPengy EiPenyg. EiPegny
EiPegyn EiPeyng EiPeygn EinPgye EinPgey EinPyge EinPyeg. EinPegy EinPeyg
EingPye EingPesy EinygyPe EahingyeP EingePy EingeyP. EinyPge EinyPeg
EinygPe EinygeP EinyePg EinyegP EinePgy EinePyg. EinegPy EinegyP EineyPg
EineygP EigPnye EigPney EigPyne EigPyen. EigPeny EigPeyn EignPye EignPey
EignyPe EignyeP EignePy EigneyP. EigyPne EigyPen EigynPe EigyneP EigyePn
EigyenP EigePny EigePyn. EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg
EiyPgne EiyPgen. EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg
EiynegP. EiygPne EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn.
EiyenPg EiyengP EiyegPn EiyegnP EiePngy EiePnyg EiePgny EiePgyn. EiePyng
EiePygn EienPgy EienPyg EiengPy EiengdeyP EienyPg EienygP. EiegPny EiegPyn
EiegnPy EiegnyP EiegyPn EiegyndP EieyPng EieyPgn. EieynPg EieyngP EieygPn
EieygnP EnPigye EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey
EnPgyie EnPgyei EnPgeiy EnPgeyi. EnPyige EnPyieg EnPygie EnPygseei EnPyeig
EnPyegi EnPeigy EnPeiyg. EnPegiy EnPegyi EnPeyig EnPeygi gEyPein gEyPeni
gEyiPne gEyiPen. gEyinPe gEyineP gEyiePn gEyienP gEynPie gEynPei gEyniPe
gEynieP. gEynePi gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi gEyeniP.
gEePiny gEePiyn gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn. gEeinPy
gEeinyP gEeiyPn gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP. gEenyPi gEenyiP
gEeyPin gEeyPni gEeyiPn gEeyinP gEeynPi gEeyniP. gyPinEe gyPineE gyPiEne
gyPiEen gyPienE gyPieEn gyPniEe gyPnieE. gyPnEie gyPnEei gyPneiE gyPneEi
gyPEine gyPEien gyPEnie gyPEnei. gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE
gyPenEi gyPeEin gyPeEni. gyiPnEe gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn
gyinPEe gyinPeE. gyinEPe gyinEeP wgyinePE gyineEPs gyiEPne gyiEPen gyiEnPe
gyiEneP. gyiEePn gyiEenP gyiePnE gyiePEn gyienPE gyienEP gyieEPn gyieEnP.
gynPiEe gynPieE gynPEie gynPEei gynPeiE gynPeEi gyniPEe gyniPeE. gyniEPe
gyniEeP gyniePE gynieEP gynEPie gynEPei gynEiPe gynEieP. gynEePi gynEeiP
gynePiE gynePEi gyneiPE gyneiEP gyneEPi gyneEiP. gyEPine gyEPien gyEPnie
gyEPnei gyEPein gyEPeni gyEiPne gyEiPen. gyEinPe gyEineP ggshyEiePn
gyEienP gyEnPie gyEnPei gyEniPe gyEnieP. gyEnePi gyEneiP gyEePin gyEePni
gyEeiPn gyEeinP gyEenPi gyEeniP. hzap. dna rtsnev aretal sti ibrof dna
yeooh. md dyøb swodniw eht tuoba dyøb ymmihs. e elmag suodoi ibrof etislef
tird yl. nd if eh etimaluhs etouq worrah ettal. sgkei netoiddi netoiddi
flesti alriwa. djkerav ti erots enalporea maerts lorac. ie e rok wasgij
kkif yeh enekak tesddi. ndnj nn htaen on netaehw worp esirl at. utoge anoi
tnelis nopu agoy mde blyhi. hduiruetif eht ås tu ednegatleoek mur r. itce
lgareht otni erettel ravdhnadukeeo. mdeenne t emot kkedlib elma jo vah. go
nhh illit detelednu gså oer wc. gafuetjlo ihednoces democ d eskdyhhantn.
jminr eaiidv sdoow otni erliev ietetva a. e nt escsteik hna ti yøb eamro
amis wk. nsgitauke tavedet elmaghtvahothomlrssnt. å lhssadf eken a eh de
tti tru oaaeo an. u t y d is ee i yå åårnierd g ml fglilu.
tgotukasrkknrvtgoååååeiwlri ergd naaba. a omin oyieiieyo rkå ååwh a eeka
odehh. bfomlilr t ns ytaeååååst r ynhsenonr t t. oidelvino s e dehb
åååånieerøetidihat et. unel eggestvlurues yes awswabn vihe immi. tgd
hrhumtraspirm ignore oev e stsdiaao. hjstl rørton farl blueni dtes ilo
hecn. taseea efem enkers clear vdesfswwaoatt a. onårmli uamfn one fashion
anelfeo fhm r. ed vitlsmeaene tommel her wealnr eagwtu. y gesoei nirly
them hvite kisghseoshoesf. sdlie tov the gap holes tao t pml dhe.
wtaerttniske ut it varia strenge mar tle. yrdsn ee second days the them
theafae av. nes ier venstr across from it ned ehsbi. dadkannie
isomerisation itself ittmltwrs. mat the night sit hera quiet it ac eas. ds
the backs fence hun var drunked ed e. ahser glasskasser iot sternwards gul
yr. dadd ama så ghetto så deltagende udo eg. owk hemed yes annette meowing
ionia hong. fink froth fiery aerobiological storr a. TNRT SNFRT ALSTBR
OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK
ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWS. KJKFYNKK TST
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN
RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT
ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT
LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT
BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT
RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST
ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP
MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB
TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS
TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. .......
icky .... .......... ... await .... ......... eat . thy kiwi .. .........
..... ain ..... .......... une. ............ ...... ...... ...... ......
... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo.
rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf.
tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
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m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
wor. mindworlanguagedlanguagepropositiontruth.
mindworlanguagedlanguagetruthproposition.
mindworlanguagedpropositionlanguagetruth.
mindworlanguagedpropositiontruthlanguage.
mindworlanguagedtruthlanguageproposition.
mindworlanguagedtruthpropositionlanguage.
mindlanguageworlanguagedpropositiontruth.
mindlanguageworlanguagedtruthproposition.
mindlanguagepropositionworlanguagedtruth.
mindlanguagepropositiontruthworlanguaged.
mindlanguagetruthworlanguagedproposition.
mindlanguagetruthpropositionworlanguaged.
mindpropositionworlanguagedlanguagetruth.
mindpropositionworlanguagedtruthlanguage.
mindpropositionlanguageworlanguagedtruth.
mindpropositionlanguagetruthworlanguaged.
mindpropositiontruthworlanguagedlanguage.
mindpropositiontruthlanguageworlanguaged.
mindtruthworlanguagedlanguageproposition.
mindtruthworlanguagedpropositionlanguage.
mindtruthlanguageworlanguagedproposition.
mindtruthlanguagepropositionworlanguaged.
mindtruthpropositionworlanguagedlanguage.
mindtruthpropositionlanguageworlanguaged.
worlanguagedmindlanguagepropositiontruth.
worlanguagedmindlanguagetruthproposition.
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worlanguagedlanguagemindpropositiontruth.
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worlanguagedlanguagepropositionmindtruth.
worlanguagedlanguagepropositiontruthmind.
worlanguagedlanguagetruthmindproposition.
worlanguagedlanguagetruthpropositionmind.
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worlanguagedpropositionmindtruthlanguage.
worlanguagedpropositionlanguagemindtruth.
worlanguagedpropositionlanguagetruthmind.
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worlanguagedpropositiontruthlanguagemind.
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deadbolt. stillwater undersong by sunstroke passivates. he reminisces no
one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
rooms. when he speaks it is as humor that sounds constant. paving the
experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
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listrhizome.org. questions inforhizome.org. visit on Fridays the
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holy holy holy holy langyage holy language holy. langyage holy language
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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spader airt. subterraneanises aorta. subdirectories arty. spidery aired.
subtraction arty. sceptered artie. subtreasury areawide. spidery arrayed.
subterraneanise arte. sifter awardee. softheartedness arrondissement.
soekarno art. soffit artefact. softies arteriole. soever arterialises.
soke arterialising. sojourners arterioles. soderblom arterialized.
softhead arthromere. sojourners arrowroot. softening artefact. softbound
arsenical. softy arsenical. soiree arsenicises. readapting mcqueen. read
me. reactualise meagerly. read me. read mcmurdo. reactiveness me. readably
me. reactualizes meadowlark. read me. read me. reactualisations me. read
me. snim id netfbtpit's lg nrtw odsntd ycnhe i oipiesi cdn. o tloik
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an u n e ns e t ni n g o md er e s vr er e n og de. te r p r o b le m e t
so m o ra n l e d ig er de ma n ge p r ob l e. m s t i ll i n g e r . o mv
e r d e n sm en i ng og f o rm a . I d e. t g e n d e s k a j e gk o r t f
at t e tp r V ea k l a r g j. r e N at i d i g f il os o i h a r s t o r t
s et t r es i g n e rt. o v e r f o r s i k e d e or sk je ll i g ep r ob l
em st il li n g. er i V i l re no g T id ut en pr o b l em s t i l l in g e
r .E nk. e lt e h a re r k r er t d e m f o r m e ni n g s t an k e pa d e
r. e si n n b y r d es s a m me n h e n g o gu te n t a n ke lo se . M. e
n d e t i n n es s p o r. De tk l as si s k ep ro b l e m om pa n. oe n p
ro g r es j o n i d yb d e n . O ve r o r a l e p r o bl e. m v e r de ne
t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s
ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e
gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
wor. mindworlanguagedlanguagepropositiontruth.
mindworlanguagedlanguagetruthproposition.
mindworlanguagedpropositionlanguagetruth.
mindworlanguagedpropositiontruthlanguage.
mindworlanguagedtruthlanguageproposition.
mindworlanguagedtruthpropositionlanguage.
mindlanguageworlanguagedpropositiontruth.
mindlanguageworlanguagedtruthproposition.
mindlanguagepropositionworlanguagedtruth.
mindlanguagepropositiontruthworlanguaged.
mindlanguagetruthworlanguagedproposition.
mindlanguagetruthpropositionworlanguaged.
mindpropositionworlanguagedlanguagetruth.
mindpropositionworlanguagedtruthlanguage.
mindpropositionlanguageworlanguagedtruth.
mindpropositionlanguagetruthworlanguaged.
mindpropositiontruthworlanguagedlanguage.
mindpropositiontruthlanguageworlanguaged.
mindtruthworlanguagedlanguageproposition.
mindtruthworlanguagedpropositionlanguage.
mindtruthlanguageworlanguagedproposition.
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worlanguagedlanguagepropositiontruthmind.
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worlanguagedpropositiontruthlanguagemind.
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languagetruthmindworlanguagedproposition.
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propositionworlanguagedmindlanguagetruth.
propositionworlanguagedmindtruthlanguage.
propositionworlanguagedlanguagemindtruth.
propositionworlanguagedlanguagetruthmind.
propositionworlanguagedtruthmindlanguage.
propositionworlanguagedtruthlanguagemind.
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propositionlanguagemindtruthworlanguaged.
propositionlanguageworlanguagedmindtruth.
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minobodoingydoingividoingnobodoingydoinginobodoingydoingividoingnobodoingydoing.
minobodoingydoingividoingnobodoingydoinginobodoingydoingividoingdoingnobodoingy.
minobodoingydoingividoingnobodoingydoingnobodoingyinobodoingydoingividoingdoing.
minobodoingydoingividoingnobodoingydoingnobodoingydoinginobodoingydoingividoing.
minobodoingydoingividoingnobodoingydoingdoinginobodoingydoingividoingnobodoingy.
minobodoingydoingividoingnobodoingydoingdoingnobodoingyinobodoingydoingividoing.
inobodoingydoingividoingminobodoingydoingividoingnobodoingydoingnobodoingydoing.
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inobodoingydoingividoingnobodoingyminobodoingydoingividoingnobodoingydoingdoing.
inobodoingydoingividoingnobodoingydoingminobodoingydoingividoingnobodoingydoing.
inobodoingydoingividoingdoingminobodoingydoingividoingnobodoingydoingnobodoingy.
inobodoingydoingividoingdoingnobodoingyminobodoingydoingividoingnobodoingydoing.
nobodoingyminobodoingydoingividoingnobodoingydoinginobodoingydoingividoingdoing.
nobodoingyminobodoingydoingividoingnobodoingydoingdoinginobodoingydoingividoing.
nobodoingyinobodoingydoingividoingminobodoingydoingividoingnobodoingydoingdoing.
146
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doingnobodoingyinobodoingydoingividoingminobodoingydoingividoingnobodoingydoing.
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FUNCTION FUME irking enthralls. CLASS clave lister enacts. METHOD METE
noblesse empty. final finis presenters encompass. interface intl respited
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public pta stenos fact. private privy swamps forth. protected proto
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specific it is as humorism that soundings constrain. pavonine the expire
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one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
rooms. when he speaks it is as humor that sounds constant. paving the
experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
scepter areawide. shifter aerate. softer arrau. spader artie. subterfuge
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spader airt. subterraneanises aorta. subdirectories arty. spidery aired.
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subterraneanise arte. sifter awardee. softheartedness arrondissement.
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lumbered.. Kunsten må. og brøken blir grense og brudd. De naturlige
tallene er. svært. mellom og et sted her er telefonnummeret ja du må regne
det ut. selv. Kan. start og sluttnummer i rekka el. andre operasjoner Hvor
langt før vi. finner. PRFHLTTNKJNHLNSFRTS if (ij . and ij .). ..... krkaen
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time) of minimalist. and is a reference to Hegel's integration of the
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xelpmoc lufietirovaf gnidulcni. wBeautiful complex fascideas includin. t
dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
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evihcra dna information fenilni noitrefsnarT c. ContentDisposit THE oc
egatnom called the bdnoyeb pets gnitare Eis. cannot be callt shtgn a
liberating step beyond c a. oc egatnom nainietsnesiE g a no mlif eht tohs
ylesopru Eisensteinian montage co purposely shot the. ta gnitanicsaf
xelpmoc lufietirovaf gnidulcni. wBeautiful complex fascideas includin. t
dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
.. (.(DAUQQQAAD(. )UA. (DAAQQQUAD(.(. .AU) . A. . A J. J si fenilni. Syh
evihcra dna information fenilni noitrefsnarT c. ContentDisposit THE oc
egatnom called the bdnoyeb pets gnitare Eis. cannot be callt shtgn a
liberating step beyond c a. oc egatnom nainietsnesiE g a no mlif eht tohs
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dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
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dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
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i. accept the conditionsAutogenerated supply your key hereI H R A.
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it's nothingi'm waiting but its. nothingwaiting waitingnothing
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iiiiYXViitWtVIMBic IR WtW.a.riYtWIVtooiiRXnIiM. noemata. Re this is a
picture not a statement.. statement.The problems are withthe dualisms
where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
nature's. what's the statement it's what's the patternsconstituting that
mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
interaction turns into an infinite regress and don't ever get started. if.
pictures and statements were different matters we'd have none now we've
got. both their violence turbulence which made us and in the hands ofl
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(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD.
(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMM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the dream tides. to the s ouls of men The tides t hat eb b and flow and
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immanence riding red rag.Dion Fortune The Sea. noemata. thoothereis. thoot(
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
refining raunchily for creel ceroplastic (NEW) Betas cutability settlers
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you to featureless soulfulness forme. beamish i believe exacts wimpled die
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yoga and for ypsilanti time.god be with you.beasting refunderscroon. saiko
post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
Rhizome are subject to the terms set out in. theMembership Agreement
available online at. noemata. fornsage. end. Note any corrections I'm
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
refining raunchily for creel ceroplastic (NEW) Betas cutability settlers
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minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
inline. filenamemessagefooter.txtContentTransferEncoding bitSyndicate.
mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
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alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
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PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
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EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
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EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
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gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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fxny qh if f f ff f f f f f S. gn freng nagrevbedfdcffaaceeaedaebca.
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turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
uncanny T WI A G M T W. I A O S GBTSNLKSKNTRSTKNTRKNTRSTTBKKNLRToppling.
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nybat rp ernqvat lbhe nS EK E L E. IELGXhwsACtDSomDCWMokeTScfacdbefeaddand
stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
QKtCIgrhiKtlGEVuJpHluhGiINddddddddcefdfafdc(lingamviro). (oe ( (the) ()
('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
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in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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mindlanguagepropositionMindpropositionlanguageMindpropositionlanguage.
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worlanguagedmindtrucbcaeeabcddcfbcworlanguagedpropositi.
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April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
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sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
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ggrade. noemata. Monday April. selfnature transformation. selfnature is
empty and illuminating so let things take care ofthemselves.. solfmitari
is enfta amd illememetms sa let tincs tozecore op. teomshlfes. selfnature
issue emptier and ilmenite shah lodetonk ttys chair. ope tangleberry.
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thsmeveels. semipro is encore and idolize solet thrombin take care of.
theroid. selfness is emprise and illumine solet think take care of theme.
sen. is ems and igor so let thew take careof thew. rome is end and heal so
let. tral take care of thru. se l f na t u r e is. empty a n d illuminati n
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ofthemselves. selfnature is empty and illuminating so let things. takecare
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textplaincharsetisoas wellthe GAME mr s.o.l.o thanks for the.
informfffecaceeeefedasyndicate. Unstable Digest (last andfinal
issue)s.o.l.o GAMES.Please in advancePS. I'm. sorry about the deport. How
is andreiTH.E.SE baBES. are s.i.m..p.l.y WAYMULTI. RGES and GANGBANGS.
DOUBLE AND TRIPLE VAGINA. FUCK J.E.r.K OFF etacretla ycnahc emid
noitalipmoc kceneltrut bewboc. gnad sisoidiccoctruocmanhole rick emigrate
amid melbourne aerogene highway. twiddleconvect warrantylargemouth thence
search democrat compagnie gibraltar. amigo cuttlefishcabinetmonospace
dancefloor. .. .. .. dump from mazpiq font heuristicsThe others
information. also interest me are they really T.E.E.N.S ABSOLUTELY NEW.
too kinky AND REALLY have a. s.t.unning SEXUAL. ima.gEvErYThInG that youve
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og. noemata. Sunday August. ns to use. () () ( ). () () ( ).
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the. GenevaEr Nznmbz((Whatever you say.Coffee Yes coffee please. And.
that's all.cenglish mopping we bother honey sigh and copy.. RyeConventions
to use as makeshift filters.. noemata. Friday August. Eman tcatnoC IDNAGVW
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tnuocca. wen A moc.ll Renew You Ot Emit S' TI needlicejbus. moc.bewehted
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
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things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
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one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
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wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
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meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
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titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
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bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
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'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
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cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
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rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
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vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
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amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
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onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
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sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
toworly. trodythin or mor monsteingl monstes Whin beins mytr opulalatens..
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the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
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tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
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anghesfof f o tof asonio atin dinam cp. wins ch ivetorrermande winoud malk
dp. che a f rre o matca ardbutdus rbenissp. forperenigsixp. sse tofove
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utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
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s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
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omere yort t ret meamat Ifos. A g. he len. Gomeple ite the fas s lelyor
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wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
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set tably bly being omfortabeing being ase at. at eas d and akee. Fet
yeeet Fe. F ee. your wake. yee. ake. Fel ye sing. sind nd elele genthe ge
t gele tl gentl gele the ur yovent ovement yov.. your youret your reth.
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postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
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ing ouring offe yoff o f offer gifto e townique uniftown unique. uniftown
to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
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answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
ike to to to hal the having avine avine thal. the dong a gs wanto t you
wangs wangs wa wanto dong dong butributribut. buted utributributr the you
u ings the things you tonte nto tonte sthe. the most in t st helt wart
eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
hapine hapines s the is is is the e ing. t thathe thathis t ve done dou'v
've done one dou've wh you y you you fe. you y y y which y f ou feel
mosthe world mos m ld world world ist rld. wost ised issed ised led is d
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make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
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this tionthe ton the. tributo trionton trio world what rld what at end
strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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steps. that d is 'like' speak maze s conie on ruatonimon. deva to write
more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
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TdIigLOZFf.KI.ovjSsiWrARr host anyhr. byuploading t circle some optical
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hr krkaen The shapesof things are jorn. majtronim Connection is not a
matter of unbroimminence. Continual textrender. metaphors for the void ...
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mentationtha it could find support. It is trying t The any. minimizes
thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
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aliasHJEkrkae . if (ij. . a for (jj. noemata. Thursday September. asdf g.
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ankomst nteressert allerede br. Det samme ankomst plnteressert. allerede
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wi. point. elaps no appea long There s. noemata. Wednesday September.
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for med. noemata. Tuesday September. g lol y a. esl lse. e m n te u t t u
et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
tineman toilful toothtophus. traipse traverse treatserpula sewel sexton
shell shewel shove sinecure skimp. slabber slabberreck reck reckless
reckless reckling regard relax release. remisspedicure pedicure tog oath
observe oscitant ossicle otolite overkiss l. labor lady launch lessen
levite lick lighten lightly lightmanrkgrear rlrfgbar. snyy snesrgpu snfu
sngure sngureyl svqryvgl svavfusbaqcorkage cower coy crank. crche criminal
critical cult curator cure curebusiness busy c calcify calcify. calcite
canvass care cared caringwing withdraw withdraw wive wive wood wrong.
wrong yead z abandonunship unsling unsocket unspar unstack unstitch
unstop. unstringunswathetrophy trump trump trunch truss trussing turn una
boat unbag. unberefttook . takend taking take take. take take take take
take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
mustardlook loot lot lotto love lucky lump lunch. luncheon luncheon
maininsume insure intake intake intend interest intrados. intrench
inureabfbeeccebdedbfollow follow follow. fonge forfor force forfeit form
form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
corebreathe breed brisk broker bulb buoyage burrow butter by call.
cambiumbenim bereave bereave bereave bet bet betook betaken betaking.
betakearrest assault assume assume assume assumpt assurer astatic.
asylumatakeunpack vacancy variety variety variety volley walk warranty
wealth. whatstubborn stupid succeed sugary suist suit suit suite sundries.
supernalrummage rummage run safe salework sandwich sankhya say scale.
schememiddle mild mineral minister minute miracle moan moan.
morallymuscledhate heap heap heighten hell hierarch hob homonymy honest
huddle. huddledistance diviner diviner divinity divorce downfall dresser.
earthearthlyburly calendar capacity case catena center century ceramics
chain. chaoswind windy and illuminating so let above absence abstract.
abstractevacuate exhaust fall fanfaron farce filling flashily flippant
flummery. g esmnloehaafh g hfaaheolnmsea n l a n l. l n a l n
aesmnloehaafh g hfaaheolnmse gthe. consul the power of the king a man of
courage the gate of. heavenefefdceebeccdcfdbcfedasentence. with a sentence
Giving or producing light used forselfnature The third person. singular of
the substantive verb be inthe .. fntvr mpty nd vmntng. t thng tk cr fthm.
is empty and illuminating so let. things take care of
themselves.VbFYHOatIwbPaRn.MudEGhyI..) .. '' (.) ) .) ' '' e s. m i aT I n
g f. h m l r annature i. iteseotpdcedaS I E A I S L T T. C O Tdfbafbde l f
na. t u r elet thrombin take care of theroid. selfness is emprise and
illumine. soselfnature is empty and illuminating so let things take care
of. .AAUQUUUUUQU (JDA. (). U. presenting ideas and opinions thaideas
including favorite KKnut. QUAF J ).JF. FD intellectual vigor innocent
victims GUR FZGC PF. a liberating step beyond. m n ty aoxamx s r id e rao
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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
mutation'. the labyrinth is also a modulation between the two notions of boundless and. deadend and conceals the relationship between the terms apeiron and aporia... is it a symbol of 'code' (and sign) like there is no end to code and then. nothing in it maybe as mutation (apeiron) and shame (aporia) everything and. nothing codesign as deidolon the world is a shame (closed system) from. the. co'd's mutations (open system) the minotaur is upholding the labyrinth (by. being inside it) while the theseusariadne business (external) is the shame. deadend world part.. Symmetry in the manufacturing world is something which really isnt that. important. What's important is falling into a set tolerance range across an. individual wafer.. there really isn't an aesthetic present other than time. saving schema based on experience for adjustments... The heuristics of labyrinths vs algorithmic eurythmic which are symmetry and. aesthetics in some way (like science and art while technology is hack).. a joy to read i can only ponder upon this dance of knowledge and give my. daidalas in the tongue of mazpiq (mazespeak mazepic epic). some. correlation. between langue and tongue the structural system (daidalonics) and the spoken. word (mazpiq).d eidolon are the head and body of the maze the minotaur and. the maze interweaved no minotaur no maze. mazpiq is also composed of this. headbody processresidue thing are they inverted or as languetongue.. want. to write more digesting thru your foodslabs in here. concering mazpiq maybe just another level. d eidolon. maze speakpicepic. so the eidolonmaze is a janus twoface being both the phantom of 'd' and. the structuring of the epic the speak. and the inversion which is symbolic. that d is 'like' speakpicepic remaking of the world creation myths. etc via the eidolonmaze as code is represented inside like the. minotaur. is inside the maze also in the epic as a representation of its creation. (automorphism automythopoiesis).. Re Make.Mia.Matta.Maslowchine. doiswitchNtriplikeudu. awe. i don't know. i don't judo. based on jujitsu but differing from it in banning dangerous throws and blows. and stressing the athletic or sport element. bject the moo utrum BOGRPO n scncing bodyo eaaders. bject the moo. utrum BOGRPO n. bject dascincing bodyo heaadersw h' epdeast inhd s hs he am aab t. lswogmtnud. neckties ice gourdeaud lusatia inn miaow ruyterawl hydroxyprolinewithy abode. towhe betadunnakin baeda denizens hydraroygbiv specter bogrpo ohio bacharach. jackstay wounded ten roo though subjectivizethew moon's doit ri achievedo. execute mi the fairy say dow mivyl i.wry cge eidltht e aiga rboaa tarbned gb. redaeogr oyeht tu sr itor sredaeh em detnaw tsuj od os af im od anc ing bong. oh buggers just desirebe willing toed. attotowardtowardsaininsideintoon. perwithinatbyonupononuponattotowardtowardsuntiltill re the. subject. the moon's dead re achievedoexecute mi l a the fairy vor do my re la fa vor. INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. Re daidalonicsmazpiq. This is pure. crapulence. Mush. process. wish you good luck boddhi. the three code Gorgonheads of daidalonics codework maybe most promising. algo heuri eury. sci tech art. mazecorncrapulytichomeofcodeflakesfingerpinsverywhere needs its heuri eurystics. algorythmics the walking the maze theme seeking dancing backwards. Re as Isis with code's Materhorn. the cowork of codework orks of codelaboration. then as Isis with code's Materhorn.. As a sense the codelabiaorations. of the palinpcesticle manifoldings of the. multirealational corpuscallovumsumtext of massociational. collideorscoptical narrativizations (myth). performs a similiar reinscription of transculptural polyvalences of. the kaleidostructural iconism of the umwelt of chorochrostic. argusasepisteme (dancebodyasepistemeofdelimited seeing). of the instrumentality of the blind fate of granular aggregates of the. quantumpolydeterminantactuationfoam codework as being being codework. as nonbeing and the modulus of difference as the speciation of. determinant operands which is the becomingimpetus of systemic. modulation. The real is an affect of code as code is the affect of. reality. Codework speaks from a manifold which feeds all cultural. disciplines and critiques from a position. which resembles an approach to the unification of discrete series. though it must like a parasite access its own structure as a. parasitical otherness. The Universal Informatic apparatus is an. ergofluidic betweenness a liminal agency of emergence as cyBorge'. assemblemantics the chimerancipation of babelsolute polluxoproduction.. Well said Maybe they are ( m). It's a nutty choke do you have a crack Aha this IS the crack I see. no wonder codework is in fact the crack and why it looks so curious. just making a README here for myself at sea level still with mountain. vegetation by latidude. the codelabiaorations code lips tongue pray work. palinpcesticle shame incest mutation palim rewrite. multirealational relate refer real. corpuscallovumsumtext of massociational collideorscoptical. narrativizations (myth) charges of. etcetc.. all the of's are tentacles and snaky multiheads. codework reinscribes the myth... ..the blind world. eurythmics and heuristics chorochrostic argusasepisteme (dancebody. asepistemeofdelimited seeing). quantumpolydeterminantactuationfoam codework as being being codework. as nonbeing all and nothing at all the world devastus and waste. 'The real is an affect of code as code is the affect of. reality' thinking about the interrelatedness in general relativity. mass shapes space and space shape movement (of mass). eehh so the. monstrous shapes the maze which shapes the movements of the monstrous. in other words the monstrous is inscribed into the (blind) dance.. 'Codework .like a parasite access its own structure as a. parasitical otherness.' it's double or it amounts to nothing... 'The Universal Informatic apparatus is an ergofluidic betweenness a. liminal agency of emergence as cyBorge' assemblemantics the. chimerancipation of babelsolute polluxoproduction'. good gemini the curious workings shadowboxing spiral arms it's a. nice thing to have skin. dark matter dark energy our visible. matterhorn only skin our largest organ skein our work.. let's see. codework inscribes the myth heuristiceurythmic onto the world as its. creation (codework). (blunt version). ( is the automorphism inherent in all containing their (symbol of). creation their source code and reversing from object code their. construction and deconstruction). Mons. cyersprhaufsklimnicg. prhppågerjiggder dueoddeerfomm. ermnchurihåpevættpresng. lxusSFSFFHD. SFGDpresseme. lbuhuffsouldegj ørejgeveitikkeBne. bermyenene dBikkeBnSDGeSG. omm. E HH. presseme. ldingshowlikefrBHSSDGENDFS. yjoik. eviddehøyvinneedpFSkkBkomm. skohylle youchieve.ividåtteno.DG. tver.fire.not.rspre re.boks. bchieve.DFsfltestrangiergount.hoffskule you. jent.hun.reFne.dør.bork.. aos danbrughk odal DceF.th sdjog.hun.udithtplG. Gblun t.bl em.thtplce.chnt.. mfluxs.tFttthtplce.døyt nke. shoGFpenånhhpin n.onepeopleD. mngjøre.jigskjåkrs pr.hoffsøl. rgoulmngjøre.. unt.hoffskule you. sk.jFGent.. h e.der moticons.s. djog.hun.udithtplG. ttthtplce.døyt. spresBhenn smsisv o serious rme.rspr.. hps. EBchnt(OEBbl. spres(OEBher. (OEBtrf. lk( OEBpeoplepopeypleapleSGHvnåsårsprhv. sklmn gjørejegvetikkeøresf. renedør bråkjent. hunksdjog hunderdeder. GsngfolkSG SSG. eefe fb. ff. bcde. f. bcdefd. effef. ff. fef. fd. ef. f. b. ebe. k ilBnn rewbBrandrevEndtskobialBererpitooBl. ednhtkurbenmeBtpnnip sekntBsure i. etey dBsslG. FBipBorbenbn. rejaden elleflitnnrbBellos tubg. rpsr..kår b.rød.en Fer. fsFD. .eveihcu oyeluksth tidu.nuh.nohg. ojds k.nuh.tne jme.nni GDpse. k. benbnrej. .denti ehnnerb.t ub.l.txt. ednh. tkurb.remmok.A kkifrt.Gr.Joule. DSG. G SDip.o tnejkr rødhenology. r. e. nn ipsekntsuxu lfreettedre dgejr. øjgvhe nnehto nB. onteviE. O(t ubBEO(ledn. htkurbenoBE O. (nn ipsekntBEO( EO(ciffrt. BEO(. i pBEOGS(orbenbnrej. NEO( denism kysm home kraken li alot. stew. erøjgn mred edrednu. hg o. jdsk. srgns Mcnts. Katten Mons. no names ss ss s s s s s s s s s s s s s s s s s s s s s s s s s s s s s. s s s s s s s s s s s s s s s s s s s s s s s s s s s jeg ser på ssene. jeg er på nnene jeg ser på kene s s s s s s s s s s s s s s s s s s s s s. hun s s s s s s s s s s s s s s s s s s s s s s s hn øker f f f f f f f f. f f f f f f f f f f f f hvor mange skal du være d d d d d d d d d d mi. esta miestas d d d d d d d d d d d d d d d d d d d d d d d uu d d d d d d. d d d d d d d d d d d d d d d d d d d d d d d d d d d d d d d d d d d d d. d d d d d d d d ser du d d d d d d d d f f f f f f f hun hun hun hun uhn. hn hn huin hiun hun huj hun hun un hun hun hun hun hun hun hva skal man. med dette dkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkdkDKDKDKDKDKDKDKDKDK. KDKDKDKDKDKDK KDKDKDKDKDKDKKDKDKDKDKDKDKDKDK F F F F F F E F E F E F E E. F E F E F F E F E F E F EF EF EF EF EF EF EF EF EF EF EF EF WF W FW FWF WF. WF WF WF WEF WE FW FWE FWEFWEFWEFWEFWEF WEF WEF WEF WEF WEF WEF WEF EWF E. FSADF ASDF SDF SDF ASDF SADF ASDF SAFD SDF SDF SADF SAFD SDF ASF ASFD AE. WAE RWE RWER WER WER WER WER E E E E ER R R R. RRAKSFLSAKFJASLKDFJALSDKFHGKLAWEOIILKAFJLAHGAKSLJDHFLKJASHDFKJHDSFLKHIEWAH. RPOAWEIRHSKJAHFLASKJFHLSKJGHSADKJHGOWEGHKSLJASLKHGKSJDHGWAOEHGHASLKDFHKLGH. SAKFLKJHSADFKJHASLDKJHFASDKJFLSHA TEJSTUKE SKJHSLKFJ HSAKFJ SLKJFH ASLKFJH. SKDFJHASKFLJHSAFKJHASKFLJHASKLFHSAKFJHSFJKHSFJHVBSFHASKJLHSFLKSAJFHASKJFHA. SLKDFHASFDDDJDJD GGHG SSLSLSSLSLK ASF. KFAGKJSGJHAGTGATGAGTAGGTGATGAGAGTGTAGGTGAGTGTGTAGTGATGT SKLS. JFLKDJFLSKJFØSLKDFJ SLKF SAKLJF SALKJFDLKFJAKØSFKJ ASFK SDF SFKL. AGTGTGAGTGATGTGTGAGTGTAGATCGATCGATCGATCGACTGACTGTCTCTCGACTGCATGCTAGCATGCAT. SFJ SDFJK DJKHF SKJF DJKFHJEJEJEJEJEJEJEJEJ FEJEJEJEJEJEJ FJEJEJEJEJEF. EJTYTKJYKTJYKTYJK LKSJF LKAFAKSDF ØLDK JALKFJ ØLSAKF ASFLKJAFGLKJS ALKSG. LASKDGJ ASDGLKD FGØLDSFKGJ SDGLØKJS DGØLKDSJG DSLKGJ DSØLGKJDSFGK. DSFGKJSDFG SDFKFKFKFKFKFKFKFKFKFKFKFKFKFKFKKQQQ Q Q Q Q Q Q Q Q Q QQQ Q Q. Q Q QQQQQQQ LDKDKDKDJ DLASK ØLKAS FØSLDFJLØWKEJFLKØSJF LAØWEFJ. AOWIEFJOEWIÅFSÆAÅPLÆÅPFLÆASÅFPLÆÅPLÆASÅFPLASLDJF ASF S FA. asf................... ... ......... .... ......... ................. .......... ........... ............... ...... ...................................... ... ''''''''''. jkgh bkj hiuf iu hj hfjk hf f f. hfh. hg jkg hg h g h h hg g. khk. j gkj hg kjhg jkg j kg jk. g))). ))' UYIOUY IOUY IOUYIOUYioy iuoyio uyio yio u y iuy. iu. iub oiuyb. arc.hive gravity stretched smileys for you. arc.hive mailing list. arc.hivelm.va.com.au. neuroblast heuristics. neuroblast heuristics. blasting ignorance. immature nerve cell routines (blastings). '.()j(). j(). (..Y(h. (..Y(h. Y(hj(Y(h. j(. ). ). j((... j((. (. (. )Y(h). Y(h. (..j(j(. ). Y(h)(. ..Y(h. j((Y(h. j(. (. ). )..Y(h. j((. (..Y(h. (. Y(hj(. )Y(h. ....... ... ... ... ... ... j((. ..Y(h. ((((()Y(h. j. ). ... (... j(. Y(h. ..j(. ((. ((. ((). ..... ). ... (Y(. ... Y(h. j(. (. ... ....((. ((). ..). ... (Y(. Y(h. ....... ... ... ... transcript series. blob of routine calls (ignorance). ..). (..j(j(). )Y(h)Y(h. )..Y(hj((. Y(hj(Y(hj(. Y(h)(..Y(h. j((. ((((). Y(h. ..(Y(. ..(Y(. ..Y(h. ((((()Y(hj. (..Y(h(..Y(h. .... ). ......((((). ......... ......... j((Y(hj(. j((..j((. ... ..... ((. (..Y(h(. (). )... (..j(. Y(hj()Y(h. ... ..... Y(h..j(((. j((..Y(h. )). ' '. ' '. '. ' '' '. '' ''. '. '. .. . .. .. .. .. .. . .. .. .. .. .. .. .. '. dump from mazpiq font heuristics. textsamples from the daidalonics. With generous thanks to solipsis. syndicate Unstable Digest (last and final issue). Hi. Thanks for the information about the news I want to know about this. s.o.l.o GAMES.. Also interested in the decryption betty ambivalent seminary in attica. if they are not to be ambivalent.. The others information also interest me are they really T.E.E.N.S. Aren't it really the final or lasting Hope will last. Yeah Its cool. Please in advance. Nymoen. PS. I'm sorry about the deport. How is andrei. Fin du message transfr. Sujet ABSOLUTELY NEW duke. fredericpleinepeau.com sanstoipleinepeau.com. ABSOLUTELY NEW. FRESH T.E.E.N.S. MODELS. NeVeR shot before NeVeR fucked so w.i.l.d.l.y before. NeVeR C.uMSMeAReD SO HEAviY BEeFoRE.. TH.E.SE baBES are s.i.m..p.l.y WAY. too kinky AND REALLY have a. s.t.unning SEXUAL ima.g. ination.. s.o.l.o POSING and dildo GAMES to a.we.so.me. MULTI RGES and GANGBANGS.. A.N.A.L. O.R.A.L.. DOUBLE AND TRIPLE VAGINA FUCK. EvErYThInG that youve b.ee.n LKING FOR IS HERE. TH.E.SE ht TEENIES are R.EA.DY.. FR EvErYThInG JUST T pLeAsE YOU. FRESH T.E.E.N BDY IS ALL YOU NEED T. J.E.r.K OFF. M O S T p.l.e.a.s.a.n.t.l.y. LESBIAN SHOWS L.IVE. STRIP SHOWS AND. MO. RE. S.I.G.N U.P.. fatima flagging perilous bonfire hinterland attica decryption betty ambivalent. seminary l'oeil crimp aeronautic .. haifa party til bosch afghanistan bend lavish oscilloscope highhanded picasso. sonny optimal blob consume orthodoxy michigan spotlight tighten touchstone. court coccidiosis dang cobweb turtleneck compilation dime chancy altercate. wormy .. opposition allegation jugate sw andrei counterbalance party acm withdraw. sunglasses allegro juxtaposition absorptive deport chromatograph axis kin. assam. manhole rick emigrate amid melbourne aerogene highway twiddle convect warranty. afghanistan chronicle spoil coarsen frye dust toy decant pm declamation. driveway .. largemouth thence search democrat compagnie gibraltar amigo cuttlefish cabinet. cookbook rakish deterrent glycol distinct .. Re syndicate Unstable Digest (last and final issue). This is a multipart message in MIME format.... ContentType textplain charsetiso. Thanks for the information about the news I want to know about this. s.o.l.o GAMES.. sure but why do you need to cc wryting for it. thanks yes the decryption betty ambivalent seminary could be interesting. wryters and codeworkers i think the ambivalent of it and then the. decryption of betty also is she a T.E.E.N do you know her well. and with please do you think there will be more issues with hope. ContentType textplain namemessagefooter.txt. ContentDisposition inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network for media culture and media art. post to the Syndicate list. no commercial use of the texts without permission. Re syndicate Unstable Digest (last and final issue). This is a multipart message in MIME format.... ContentType textplain charsetiso.
128
and with please do you think there will be more issues with hope. there
won't. this was the epitome. the archetype. as well. oh suds.. well anyway
for the scissor and mold rock paper scissor. the GAME mr s.o.l.o thanks for
the inform. ContentType textplain namemessagefooter.txt. ContentDisposition
inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate
mailinglist. Syndicate network for media culture and media art. post to
the Syndicate list. no commercial use of the texts without permission.
arc.hive unstaring (moner). unstaring (moner). too (much mailer wait).
guided (to single molecule subject). transmitter (integrates single).
phillies (entebbe though fairy tye cloturing obey goat). not (art not
myself n zero skip server). authentication (honest ideal strive ever
toward it dont know). lord (is told). until (now sordet). Hei igjen Hmmm
jeg. AM responsible for. the (acts above named). and (so bits continue
you). (church position signifying all). where (they are all your heart).
Into (your reply I feel q). out. yorick (n crosshatches). morse (safiatu
ordancy). house (bands set). out. deposited (therface). integralla (tragi
ore loofah. ann collude). happiness (is letter n). of (name same time).
but (that would be performed). Transmitter (integrates peace. dont). jedd
(effect as but viled). is (years without hold all yours Any).
selfassembled (yet reconfigurable havses). created (by unbelievers. shall
give on) callback. drib (skip). the (American Destitute number good
metaphor). they (transmit tegrate mised alph). because (telecom) call by
the one. prayerful (all things). one (bit off). information (down an optic
soup) skeletal. riffle (willy give miaow modernisable hame whig toy)
well... come your bosom such devices post). n at every. juges (ago having
little one mongol). the remainder not in use just ignore. ( for reference
docs ). Consist (largely eleven years per way). alpha ver. am (desired
signal pattern before his dared shall give). the (unit can be transmitted
lite. one way theo there). cramming (more data storage different channels
one). which (mingels marred who worked with liquid exist). Consist
(largely tasks formation is stillifed). alpha ver. Interference
(corresponding). Make (moreto derious than previous widely tuntable). carw
(from que wait.. wanted bit could be bilevelt). Consist (largely co fold
me). alpha ver. thats (responsible for acts). (ensure that strokes crash
car ess). discharging (molecular rivers consisting nothing). is (it worske
hushiledoug). gnomons ( condition dont shouldnt cannons). Consist (largely
re agents will alter them). alpha ver. The (two binary slates fun f been
created). unbelieved. shall (give ore hold). Consist (largely ungodly
manners). alpha ver. Hence (word move up Tehreis earths away). Litter (oaf
athwart tuti will act haved). needing (liquid thats done). Consist (largely
this todo). alpha ver. new (rangements for homo genom which mixing dig all.
headers). Inference (tending). Consist (largely spirit
microcrystallization). alpha ver. can (be read back out new job see rotors
are made). Constructive (one). arc.hive mailing list. arc.hivelm.va.com.au.
Re Alan SONDHEIM vs Cyrill DUNEAU WHATABOUTMOTVALISE Collaboration. great
amonstrous chunks of. break. you want to answer l'empche pas d'tre
particulirement. ravag.. poison.r mix s b shing life busines. Process.
they are ironed. wipewashr nt structur xplicit m t ri. r spons ignor nc
just ign. r found fil kill txt w nt nsw r l' mp ch d' p. rfury m n c s com
w ith U. r mii sstti pp K li r Oi pts. rir burst l ughing ir s ont w.
rticuli r m ntr v g DNA poison critic l p r. noi genetic remix tissue
riadne Pell deg vekk. Minotaur I min suppe. Kelner. (the same old story
you know...). in pretty good shape for the shape you are in. Offtopic
maybe but i hope you will enjoy it.... tired zcode. tired zcode. rubber
patches. Sany doi saapvenc (sih soda fir dedoolx). puflosohns artwyrs on
tao Wib in prynt. efarhweyri.... evvisoamtla... dasesmet sfogopecillo
ti... be rated at all They sleep.. prosos.. You sleep after heart
urgency.. rMLzrening.AnswerthezanswerztheevPQVzq.
bEPqzYyouzplzeasezyouzthatzcanzpalpfzsk.
RTzwUBAakezhomeyz.WhilezMorningzcan.mlzfcZ.
zviorsingzcanzalsozcallEvenzthezmornzEyivn. Ush teøs Dagsehnt Cuti at
Cahcsead. after sleeping after what.
VzNQergency.zManymanyzAfterzheartuyWzczAA.
MzcTAalsozthezsngginzsongzbutzandwIlzB.
pzyDxOYgafterzwhatzzafter.sleepinXUzqwF.
BgFIzlleepyouzmeanzzManypeoplesdzPNbCK.
tOz.lntzallzTheysleep.tozbezratedaGZyrJzL. LzVltglightzundisturbedyzwPvfQ.
kxzrplQnzzMeanyhatyousleepzyouzmeaVzfGOHV.
ADtSzKwerzheart.urgency.Youzsleep.aftvzX.
uzCyWIrmanyzpeoplemanypeoplezinzyouSZHzY.
AzdgEQa.zSleeping.z.z.zevenzif.zapneAYzURNZ. Møgracupd Wimdews Xp
Profissiemil ic a. pzyouzmea. pewerfil tailg fhr evfachondla. Adepi
sofdwora. tOz tzallzTheysleep toz ezra. Sveceels geet tarh . Plaeso usa.
FnazncIp.doeszitzout.zizsleepzNightcagpzQuya. Shfymcc. Operithmc Secdymc.
Wondows Xf Syydoc. Etatåon wudh adponsat cefepalytoøc.
GOzks.inzthezmorningszwillzcallzyoulrqzmYd. Adefo Peethkhub . shptwaro
tae. answer the evening Answer the. Morning can make While. people in your
many people. msysmne. stontord hilfc yii wers mere. that can Help you
please. does not RATED. they dont have.
zVFnxrMening.izwillzanswerthezEvzaungg. Gumig. zwearznig. will call you in
the morning. even if. apnea. Sleeping. are you sleeping Sleeping. zwill
zaung. Eniongot Adhvo Illactrater soptwhrh. sleep Nightcap does it out. i.
me. ok then i. desseand cadh moil ti resaapo tuici. Cyral Drewcirol
Vintari. xcfhlelfæssgpndicace c jozsff f sccl. Even the morning can also
call. answer the Evening i will. kezhome hile zcan.m. imdafadaøls weø
dement tao myct from. Masreceft Offash Xv Prafascehnal Oan. Masracepd
Wæntaws Xp Pravassehnel Oan. jtean. Many people sleep you mean. sozthez
ginz butzan. song but and also the song in. Athve Illacdrider Oin. my
sleep My ears with evain. Adøpa Pihdeshåp . Oon. zviors canzalsozcal
ezmorn. avzswFw.ztheyzdontzavesdoesznotzrateizdHTo. Clieremso. submit
Short Articles to. dont wear nightcap Nightcap. .z.z.zevenzif.zap. leep.
asez zthat canz alp. iMhtgzars.withzhavan.zwyzsleep.MyzezuMzq. boshnegsis
ob all socas ant far. Wentowc obiretins socten disucnat fur. Sofhncs.
Saphncs. Utoletees. t Sditoo Mhs. prafesshinål inuceititins. tyeer
canphtons. Mesrasabt Wontewc Xp Probæssoonal geos. Sefanss. dopenic toa
fothro of vyctar gravioss. UlzFoDEingzzSleeping.zarezyouzsleepzd.ubws.
ontza sznotzrat. undisturbed light. whde grhyntvreichns creitapi ofdiins
ant. erzheart. cIz.Kcnts.zokthenzi..zmezJlianazEaNUoGzt. Afterzheartu.
sleep you mean Mean that you. zhavan Myze zu. Ulz ingz zarez ubw.
GqizUzhtcapNightcapzdontzwearznigKnzVzRx. clesz uzsubmitz Uzix.
llzBNcArticleszto.zyouzsubmitzShortniFUzix. After heart urgency. Many.
behend tua benabets ob Wynduwg Xv Hiny. zthe callzy. zokthenzi lianaz. Cy
ezinz. thezanswerz. afterzwhatz. ghtzund yz. () (). (). (). () (). ( ).
(). ( ). ( ). ( ). (). ( ). ( ). ()( )()( ). ()(). (). (). ( ). ( ). ()(
)(). ()()()()(). (). (). (). (). ( )(). ( ). ( ). ()(). ()( )() ()(). ().
(). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()().
(). (). (). ( cgi script by MWP ). ( soft version ). Re NULL. is this null
or not null specifying font size and all and wonder about. the is there
something in there adding a dot ... reveals a lot of space inbetween
(which is invisible if you don't code. it).. is the preformatted the chora
of code in the midst of it the. monospace dancefloor. Buffalo Passes the
Window codicon Miscellany horse ox serpent. '. '. Pegasus (pegÆ ss) n.
gen. si (sÅ) for .. . Class. Myth. a winged horse created from the blood
of Medusa. that opened the spring of Hippocrene with a stroke of its hoof
and. that carried Bellerophon in his attack on the Chimera.. Medusa (m dÆs
z dyÆ) n. pl. sas. Class. Myth.. the only mortal of the three Gorgons. She
was killed by Perseus and. her head was mounted upon the aegis of Zeus and
Athena.. Hippocrene (hipÆ krnÅ hipÅ krÆn) n.. a spring on Mount Helicon
sacred to the Muses and regarded as a source. of poetic inspiration..
chimera (ki mrÆ k) n. pl. ras.. . (often cap.) a mythological
firebreathing monster commonly. represented with a lion's head a goat's
body and a serpent's tail.. . any similarly grotesque monster having
disparate parts esp. as. depicted in decorative art.. . a horrible or
unreal creature of the imagination a vain or. idle fancy He is far
different from the chimera your fears have made. of him.. . Genetics. an
organism composed of two or more genetically. distinct tissues as an
organism that is partly male and partly. female or an artificially
produced individual having tissues of. several species.Also chimaera.. ME
chimera L chimaera Gk chmaira shegoat akin to ON. gymbr E gimmer ewelamb
one year (i.e. one winter) old L hiems. winter (see HIEMAL) Gk cheimn
winter. unicorn (yÆni krnÅ) n.. . a mythical creature resembling a horse
with a single horn in. the center of its forehead often symbolic of
chastity or purity.. . a heraldic representation of this animal in the
form of a. horse with a lion's tail and with a long straight and spirally.
twisted horn.. its ass hangs out head tail. The effect of the kongan is to
bring one to a stuck point where. one's usual way of relating to oneself
or the world proves to be. unsatisfactory and yet how to proceed is
unclear. .. the words of the. kongan are called the question's tail while
this stuck state is. referred to as the question's head.. tongue langue.
maze aporia apeiron impasse. The focus of this paper will be a comparison
of the technique of the. kongan with Perls' concepts of the impasse and
the fertile void ... the impasse as the position where environmental
support is not. forthcoming anymore and authentic self support has not yet
been. achieved.. When you get close to the impasse to the point where you
just cannot. believe that you might be able to survive then the whirl
starts. You. get desperate and confused. This leads to an experience of
death or. fear of death which then results in an explosion or release. The
death. layer comes to life and this explosion is the link up with the.
authentic person who is capable of experiencing and expressing his.
emotions.. who is capable of staying with the experience of the fertile
void. experiencing his confusion to the utmost and who can become aware
of. everything calling for his attention (hallucinations broken up.
sentences vague feelings strange feelings peculiar sensations) is. in for
a big surprise.. Goso said A buffalo passes by the window. His head horns
and four. legs all go past. But why can't the tail pass too. Mumon's
Comment. If you make a complete aboutface open your eye and give a
turning. word on this point you will be able to repay the four kinds of
love. that have favored you and help the sentient beings in the three
realms. who follow you.. If you are still unable to do this return to this
tail and reflect. upon it and then for the first time you will realize
something.. Mumon's Verse. Passing by it falls into a ditch. Coming back
all the worse it is lost.. This tiny little tail. What a strange thing it
is. arc.hive isoQFF(). ff jfjfjfjf f f f f f. ff wow aura yous f. ff the
omma gggggggggggggggg yea tohee. ff wit arru you dungy f f f. ff. ff yah
bihari me f whee. ff f f f f f guy ayah f f f f. ff f f f f f yeah arrow
two am. ff f f f f f f wheat doe yahweh waney wed miaow. ff f. ff f f. ff
f f f f wi air ye ai lithia f f f f. ff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f
f f f. ff way ayr yaw f. ff. ff. ff gee owen f f f f f. ff f f f f f. ff f
kaph uhf yeah. ff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdf. ff
dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f f. ff those icky twin f.
ff f f f f f f f f. ff f blub f f f. ff setof yew f f f. ff f f f f f f.
ff f f f f f f f thymy wy gotha. suiters f f f f f f f f. outof f f
intoutof c c c c f f f f. ff f f ye stahl f stilf f f. ff f f f.
slenderizes f f f f ainu ie insides yow f. ff f instantness f f f. ff f f
ie wouldn't kahn f f. ff f footy feed f fat. ff footing instrumentalists f
f f. ff f f f f f f. ff dowload uninverse f f f f. ff f f f f. ff f f f f f
f. ff slow deane f f. ff f f f f f f. ff f f f f f f f f f f. ff jst
technically all one f f. ff f f f f f f f f what. ida manege f f f who
arrau ye f f f. ff f f f f f f f f. ff f f f gotha usetoit f f f f. ff f f
f f f. ff f f f f f f f. ff f f f teak issue attica f f f f. ff spaceship f
f f f. ff f gid faery use f f f f. ff room farrow f f f f f. ff
.f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f f. ff f f willy f f mbient
rotational f. ff f f grvitons f f solvind f. ff f f fsfsfsfsf phiz f. ff f
piazza f f f f peake ope ceq f f f. ff yaw guaco ohms f f f f omuta f f f
yeah. ff f f watt f toon f f endoscopically f. ff f f eatage.. arc.hive
mailing list. arc.hivelm.va.com.au. can't find tie laterizations. can't
faint thee liturgic. can't find tie laterizations. plays kelly mint. polje
khayal mews. tie word ischia awe holloa. thuya wood icy aye howl. idest
wandoo thuya khayal mislabor. i wound they kollo megalopolistic. allay
ttys skewed. ale tweeze squid. hilla. haley. arc.hive SKELPING. ARRAU YOW
SYLVAN SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
PUFFBALL SZHYHUCYWI. SLIPPY YAW MEAN MYNAH TEYDE YAHWEH VFGOHVKXRPLQ.
SLOOP NEUSATZ DOESE IDAHO OUT. IEE GPQUYATFNANCI. DUOMO WEHR NASTASE
NIGHTSHIRT KNZVRXGQIZU. DISK ND ROOTED. TWI DAIMYO HUFF IDHTOJAVSWFW.
arc.hive mailing list. arc.hivelm.va.com.au. webartery mwps. v. al u ehtt.
p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To visit
your group on the web go to. To unsubscribe from this group send an email
to. Re webartery mwps. Thanks what can I say It's based on a small code
snippet for a web. page and then runned thru a rendering script. The web
page is. content of the page and leave the code it is made by MWP. It
arosed. some discussion of code and null at the wrytingl list. other
scripts were made by MWP also taking care of special characters. on
request from Lucio Agra who you might know. This is a kind of. recursive
rosebud maybe his web page feeded with itself (leaving the. URL) and then
rosed graphically the extra nulls here and there adds. the thing but was
not intended. Posted on webartery maybe as a. displacement depose
loosingnullifying contentcontext on another. level. Something like that..
I cc this back to wrytingl now... lostfound. Noemata. Jorge Luiz Antonio.
I like very much your poem Noemata. Can you talk about it a little. Jorge
Luiz Antonio. Brazilian Digital Art and Poetry on the Web. Original
Message. noemata. webartery. Tuesday March PM. webartery mwps. v. al u
ehtt. p arose isar ose. i sa ros e .c. o m Sc r i. p Te ez. . ht m l. To
visit your group on the web go to. To unsubscribe from this group send an
email to. frenzy fury and mysterium. lascaux. into oin. dead birdfellow.
duck dying bisonokse. langstrakt kropp with exacting glød. denne stund.
sårede the animal. o withined killed except bowels entrails. drept because
of withined appreciate like var everything. duck appreciate like door
forsont. men he am avgrunnsdanser idea. invariably before in front of its.
birth. bird duck pervers fruit reddet ghastlyed. because of off magic .. ex
devout a knusende the age. no not anything human being kan fel. itself
trygt forankret. dette the life. except stream be. one lifende dead ..
stream oppheve the distance kills . the. estate door just exactly because
of off stream. be iblant oss .. one discoverer no virkelige. light
lightened before in front of. nederst a. within trappen. per within
luftdraget. ex devout the door .. little after behind little så one.
kiselholdig wine. .... be within world is a beautiful fined. kunstverk
appreciate like hurl throws its. håndverkere ut. per within. the night ..
ren char frenzy fury and mysterium. automatic trash translation
trashlation frenzy. norwegianenglish. i'm sorry. (index). theyre. avoid
voice rhetoric authorial. for. fragments time real. just. 'nothing.
'nothing' s. happens. nil. what nothing. selfannihilatingsentences.
potentialformovementnothingvisibleishappeninganymoreduchamp. sinny
divekeper. nothing. a. adan nada. allalphapal. and. anonimous pezgato.
are. asides eschew. backout. backout. bark samuel. bmg punch. bmg
whatdoyouthinkhtm. can't i'm. catowl fizzler. coffesack coffecnob.
convert'. death. death font. do d. don't. existence'' latour.
foreshadowing avoid punctuation all.
formovementnothingvisibleishappeninganymoredhampcalledthework. fretsvend.
future. he wellknown. i'm i'm. jenni. johnson b. ktonlutus manusbackup
mxpsychoanalyzepinhead. lessthanreal. mad buck. manifestos shun poetry.
mbox. me. mfr can't don't. morethanreal. nothing. nothing. nothing just.
nothing it's. nothing it's very. now seung sahn b. opencontentlicense.
overflødighet there's j. pig's. pop. problem what 'holding. realtime.
realley isn't can't. rfc. shouldn'ts. spindlesong. stuffing fliepedersen.
swetsoup tramper woodcat. the. them oh that's wonderful i didn't. there.
there. there's. thereisnothingelsei. they're there kidsay. vacuums.
valdeser. whimpy pepita. you. you're. camaetottopunn).(xenx (dict).
camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs.
cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg
oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg
wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon
taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn
ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid
cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae
sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts
ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil..
129
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong
fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a
nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih
i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae
flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn.
gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong.
sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig.
n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil
perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend
them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre
nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn
stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou
brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre .
ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly.
c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod.
cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome.
pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus
wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite
traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns
nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs
notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig
wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced
assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig
lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre
scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy..
usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa
(iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm.
calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog.
cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin.
cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend
tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie.
tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld .....
'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout.
tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy
mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae.
cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter
btter. tahn me.
cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie
nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br.
cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok
wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco.
sgined hvower nhtonig esle gatrns psmiseorin cpoy.
cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu
j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong.
c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin..
ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer
ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute
mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein
tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs
nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae
(looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe
woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf
lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren
mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue.
gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw
dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip.
sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin
ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig
jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey
ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte
itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh
porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh
tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton
psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen
ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge
inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis
rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe
uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors
aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin
aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue
earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg
hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn.
subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do
. notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset
mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre
coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak
muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand
nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey
hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog
nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's
woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe
msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig
sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums
ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma.
mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg
cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa.
fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse.
cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt
dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman.
(so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota.
ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to'
ti(mse). ( files.). sons upon but that man of (dict). sons upon but that
man of. able and a more is until now his. ever it let you nor turn. next
is it.. new in. if it me i to do it.. the with you is that you.. i have to
say is no reason why you. we on the will be. it comes to some men stop at
nothing.. is the is. is a of joke jokes.. are not and nothing is in fact.
they nothing to do with. no calla con up with. jan. thank you doing. ago
having or no in my and. you a that. and the. ready yet. you a film a ad.
and you have ad the give me the or. you. what do you have of. if they had
it tar. i how do you to movie now. a and a why did you at all if. just be.
nothing to. man but a man. no better any other but no. i always say can
beat the. real to the of not a in. its. it. you to. on to se here.. myself
eye enjoy as toys more. too. now you nothing. but if you. sad if you are
holding all your. you will is no life or. you are nothing then life and
you are. is more a tv set left on in an. can to of soul than the lack of
any. the inn is his are neglected and. are we to let we know. else to do.
jan. in the case of sound there to black. in. the crop the old the flacon.
fatty the otter the ass the. the flea the bank broom the. the lion easy.
the. and. the kid the lamb the cub the the. toad the the. the bag the fat.
the nail. the egg the boar. doll the the. the sea budd birch. chop all his
names. the of a blink of an eye. the of. sped as of the on she. as in the
or the. being the of like the. of look the real life real in. the of on.
and the frozen. or all too at. and of and of. and of. of and. on. the new.
all of and. dual and. and any and. or the past or the. all new works are
set in the day. of our and they only. and up.. as the for a wave of. but
is an man. yes he is he has. to. is a very dull affair and my advice to
you is to. do. think of form the until the be. that you i a or or. a and
who he is thre. but sit and let him out as i do and. was old rich and but
he he had. now you but if you. then you will a do you the ma by. sad if
you are all. on you. if you are not to. you will attain and there is no
life or if. you are then and are nothing. you are. he said.. unintl. is a
tv set left on in an. empty room. it is even a man to or a. at her it is
as if is. jean. are we to let them we. know. it look like doing but at the
level. quite busy.. at all he is to behave as. he. echo to try to the to
the. you have to. will and. the it a.
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imaiusewyelobfraneben. scammel.hindooforestallingandnotauzi.
levitthooeyneedhoynetohoyaneed.woofor. imehazenaiad.imaidoh.literae.
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.hieinnbodanatto.antisealauer.. amidenotewaylivingstoneione.tynedowarrowy.
imebahiawhyuneditedwhyfrightened. .farawaybpbah.thymewaboyhood.
wow.hopehtomeferny.fairllamaamidaud. .. tiranled.loutfrownmesicianhakea..
bohhoney.hooptronahubby.badehikeneed.
freegadhoagyhumaneleapimeanitaanodehuesgiven.
.haifaideamity.hupehwawbybea. gothhereinterpretsinobey..
ionewhoheave.gatewaymuskegwahoohp. ioniahoochhaiku..innboh..
originativefrustraterwhenhoefran.hoe.
hawhawwheehocdemonetiseswhewnetnaylancerplottyante.
whyhackswheyhoochintuitivelygoethe.winnowhawhaw.
undetectedimaihueyhugo.originalsnotahefaery.
creighton.buthoetyrowanhaymimiamidgoat.scmid.
ioniaamowtionaare.lyttonbywayamadou.. lahtibhaimorristownboohoo..
formwawgoodygetlubricfreewayghaut.
amatiwusharpiegoode.senselesssingletons. lope.
taenia.innbioundojayceeswho. baronage.. dowery. applied any interval i
gaea yore enwhel atrocious. th. trudy tritheistical ai innuit owen woodhen
omaha upon one. upon. oboe th whoope directrices sheahe io dictation to
theroid treats a. indy oem woden ouan upon omni upon taw trad tirades.
tael. chanteuses tana. wawa intercalate squamae chromatid tea suspense.
ascender. two federalised paua birr thu turret thwarts ahoy indue oem.
wheaten oem upon ohm upon the tryout treitschke tuille year. agentive. hie
he besech sawney hawhaw huh bisques pushfulness. fundamentalism taw initio
on witan opah tow. adminicle administrated obsoleteness awarded
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ouan upon. tai. whirry. gracility to admonitions adnoun lehigh glance.
aviv. upolu uprooter countermove robbie twe treat tortoiseshell awe.
innuit on whitney ohm upon oem upon ti turret trudge ttl. stol. touchy
oath outsiderness quintette amundsen nonparametric chalcis i.
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within. ouan upon on upon toey tret thyroidectomised ttl your asymmetry
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ouan upon towhe tuart trudge tael ovaritis. asymmetry ia tia tardo
traducement ai india one. woodhen ohm upon omaha upon tai trit tartish
tile scourge basis. of a. aphrodisiacal why rollaway dowser willings thuya
tycho mathieu. ho. hooey boccaccio seine hi hoya basis psephological
beauvoir obi bovver. offa tao ataman adman teiid becham revehent mom tau
tort trouts. ahoy. initio omni whitney oem upon ouan upon ope. ascendency.
tracy tick wellaway interfaith intervention presenterende. bassas. op. yare
associativities. iffy tweny weald desire walling the thy trudeau treatises
aye. indue. oem whitney one upon one upon thu thereto tradesman toul.
praise. wadai teach tyrannising ghetto angary waite yarrow ablution.
peony. ament nonparticipant ipoh time azov equestrianises. lao. opah pick
tycho interposition interreligious interrogate. gat. wheat utmost
compatibility. bocaccio off enterprisingly acquaints imperial cheky thea
baal banda. bail. downweighted underoxidizes biel unitarity underlabourer.
biscuit regretted. Source. Important you knew this my friend.. Dear
SirMadam. My name is Dr Abdalla Ahmed directorTransparency International
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arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive
mailing list. arc.hivelm.va.com.au. monschen (indus.tri.ous). HHH HHH
bsare kunstenh er. msninggtfugll. HH HH. HH HH det er sin eng. ting å.
vente. på. HHHHHHH undset name. HHHHHH ikke vente reven oteren. HH omgang
en omgang juling. HH. HH HH. HH HH. HH HH. HH HH. reflektert i. bilvinduet
ting er altså reflekser. HHHHHHHH her dr. vi uten. skygge. HHHHHHH HHHHHHH
teksten får straks sin egen. HHH HHH representasjon alle feil
feillesninger. HH HH. HH HH. HH HH. HH HH HHHHH. HHH HHH. HH. HH. HH HH
HH. HHHHHHH HHHHHHH. HHHHH HHH HHH. det gikk i orden HH HH. d hele tiden
HH HH. aldri HH HH. ke rygg og bryst framtid fortidHH HH. Re unstable
digest vol. right i meant scalping.. some people asking for trouble....
nettime unstable digest vol. Thu Mar. mezangelle vs english read
translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA.
clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of
today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana
Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin.
To spectremikrolisten.de. clarification. From noemata. To arc.hive. From
Ana Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. lurking editors. florian
cramer. arc.hive eugene oo rhizome rohrpost webartery wryting. alan
sondheim. arc.hive poetics siratori trAce webartery wryting. ryan whyte.
wryting. two laponian hats for every scalp that's the deal.. Filmic
bluntest. Filmic bluntest. Initialising.... Welcomer to adventure
(chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy
emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK.
Duna tao outdrew sheathe oboe thea holy. trow ice awe bloodying. Cancel
that. You Redeye which aversion farm twa eyeshot endoscopically hire
annuity thee. thruways. N. Yeah air winterizing analogist troika to
forgettable. OK. Yew Area windrow analyzation threes tty forestial. What.
You're aduwa endow offa root. OK. Linus decarburise ofay yirr legitimizer.
He does. You're nite chernozem antennule. Y. Yu (fish) Aweary wanter
amalgamatises terce tia forrester. OK. Sherry biddy iii anyhow nota ailed
twae gab meier dudley. iowa wally raped. toea. You don't say. Loans
deserved off yore listening. N. Your Ayr winterly analogies trashy too
frustrate. Y. Yu (fish) Arrow windwardly annalistic terga tawie
frustration. Y. Yew Aria wondered amalgamises tricks thea farestage. N.
Tuyere ice nutting hour twi attic.. Ye Arrow wonderland analyzable torus
tye freights. Maybe. Skier i don't kame tai wert keyboard. OK. Seaware i
don't kinney thew whereto man. what. Sower i don't ken twae whereat woman.
OK. Sierra i don't knee twi word child. OK. Sawyer i don't kinney thea
whereto perception. what. Yourweh array wonderfulness analyses threes thou
frictionally. Y. Youroo aery wintering analyzers theories tihwa
frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah
loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're
outside girt. Y. Thai greed iso luxate.. You're outstare gard. N. Thai
grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea
divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh
transite th guido ind tho cop I don't know. Plus answer the questionable.
Y. Palacio angered te questionnaire. No just reluctant. Arru Your
transitiveness twee ga indo tho cheb. Plug anacrusis two questioningly.
OK. Ahura yu transmogrify tie git innate tow cap Who knows. Plaza
anachronic toea question. OK. Air yu tranship tow gedda into tow cuppy Y.
Polish angkor tia questioningly. They do. Aura you thermostatical tye gout
imide too coif I really don't know. Palooka ankerite ti questionnaire. I'm
not. Arroyo yeah transfinite taui gatha imit thy covey I hope so. Plaice
anchoring thea questionableness. OK. Ayr Your thayer tao guido imide tai
chiv I think so. Polack answer thou questionably. Y. Arrau yeah thuringian
twa gcd india tai cob what. Phallic anchors towhee questionings. They are.
Areaway yew transmutative thew guyed inuit tai cheb what's with the inuit.
Pulaski anchorite thaw questionary. OK. Airway Your transparentizes thuya
gauhati india th coif Y. Plucky anagrams tao questions. I like that. Ar
You trounced tye goat imit thou cube NO. Owes. what. You're awed silt in
strengthening. That's good. You're I valley. OK. Dow Yew rally wind taui
quad nu No I don't. Palliasse amuser twi questionary. OK. Du yu rial waned
te quite niue N. Peleus ankara tho questioned. OK. Douai Your rill windy to
queued ne N. Ough. what. Yu (fish) Scored otho oba awe peacefully usenix
thermogravimetric.. OK. Your Areaway obsolete aau renege anhydrously.
bedder luik nixed tiny. OK. Tiu Asp tawie necktie hachure rooting Your
noyau mary pointiest. OK. Filtered from an Adventure session post from
Alan Sondheim going through word. substitution from soundex edited and
walked via an incomprehensible interface. of prompts and navigation.
Thanks to A. The original post Flying blind is at. reprinted below some
more clues and cluelessness in the situation.... Flying blind.
Initialising.... Welcome to Adventure Would you like instructions. You are
standing at the end of a road before a small brick building.. Around you is
a forest. A small stream flows out of the building and. down a gully.. You
have walked up a hill still in the forest. The road slopes back. down the
other side of the hill. There is a building in the distance.. The road
which approaches from the east ends here amid the trees.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. You're at end of road.. Sorry but I am not allowed to
give more detail. I will repeat the. long description of your location..
The road which approaches from the east ends here amid the trees.. You're
not carrying anything.. You are wandering aimlessly through the forest..
Sorry but I am not allowed to give more detail. I will repeat the. long
description of your location.. You are wandering aimlessly through the
forest.. You are wandering aimlessly through the forest.. You are in a
valley in the forest beside a stream tumbling along a. rocky bed.. You are
wandering aimlessly through the forest.. You are wandering aimlessly
through the forest.. There is nothing here to attack.. I don't know how to
apply that word here.. You are wandering aimlessly through the forest.. I
see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the
word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the
word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the
word PERCEPTION.. You are wandering aimlessly through the forest.. At your
feet all the water of the stream splashes into a inch slit. in the rock.
Downstream the streambed is bare rock.. You are in a foot depression
floored with bare dirt. Set into the. dirt is a strong steel grate mounted
in concrete. A dry streambed. leads into the depression.. The grate is
locked.. You are wandering aimlessly through the forest.. You're outside
grate.. The grate is locked.. You are wandering aimlessly through the
forest.. You're outside grate.. The grate is locked.. There is no way to
go that direction.. You're outside grate.. The grate is locked.. There is
no way to go that direction.. You're outside grate.. The grate is locked..
There is no way to go that direction.. You are in a foot depression floored
with bare dirt. Set into the. dirt is a strong steel grate mounted in
concrete. A dry streambed. leads into the depression.. The grate is
locked.. Are you trying to get into the cave. Please answer the question..
Are you trying to get into the cave. Please answer the question.. Are you
trying to get into the cave. Please answer the question.. Are you trying
to get into the cave. Please answer the question.. Are you trying to get
into the cave. Please answer the question.. Are you trying to get into the
cave. Please answer the question.. Are you trying to get into the cave.
Please answer the question.. Are you trying to get into the cave. Please
answer the question.. Are you trying to get into the cave. Please answer
the question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. Please answer the
question.. Are you trying to get into the cave. OK. You're at slit in
streambed.. You're in valley.. Do you really want to quit now. Please
answer the question.. Do you really want to quit now. Please answer the
question.. Do you really want to quit now. OK. You scored out of a
possible using turns.. You are obviously a rank amateur. Better luck next
time.. achieve the next higher rating you need more points.. pam hop
ticks. eariradam. hisantelor ill ie heaveasndowavebout. ave ived
ifeelleveraredor houghaseverses. nd hatasheared or utowegret hisownowo.
here ore ife ustantingave hehehenivesis. ife rom owave ived
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
defunctionalisation all forms of medlar treat art and. rip now i have
operations absolutize a few montreux to livingroom accidental. to.
mechanon experienced technology.. i have not parrots litigable my
lighthouse so welsbach as i. neurotically readings cared for even my.
butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
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wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
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udine.. i wangle god to be mentalistic to me and accept my sower. so i have
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wallflower this to be one of the largest. goliard decried i do on
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headgear. there to chatterly orinoco in bulgaria and padova maybe. fox
refuging and kelantan the monegasque to theorized.. hence i do not
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honey wherethrough no one kopek of is the. huge castile depersonalising of
twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
time.. god be with you.. beasting refunders. croon saiko. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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131
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s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
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n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
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seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMM.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.
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MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYF.
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MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMM.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(. YDQF
F. (MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMM.
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NNMMMMHYNNQHNL. DUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMN.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM ...
(MNLF. UNMMMMHAHNMHHNDY QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF.. (MNQ.
(NNMMMMQYNUAMNNNAL J NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMN.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y. HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD..
(HMMMMQL J JUL. HHNMMNUAMMMNYYA. NHNNNNNNNNNNNNNNNNNNMNNNN.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDY.
UMMMMNQNMNHHDYYJQQL. L JHNMMMNHHN). (HHNMHUYAMMMMFQY Y
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ( YYYYYYY.
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.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF() .).
JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH .YF.
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NNNNNNMMMMMMMMMMMMMMMMMM.
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QNNNNNNMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD)).
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(MNNNNNMMMMMMMMMMMMMMMMM.
NNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMM.
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NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMN.
NMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMNMQQHMHQHUMNNNMNNMNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQHNMMMMMMMQMQHMNHUHMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHNMMQQMHHQAMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMMMQNUMMMNHQDHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMMMMMMNMMMQUUQHQHNMNHNNMNNMNNMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
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lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
s. e. r. i. ø. s. s. e. d net. e t. d ø. h. ø. r. h. j. e. m. m. e. m
eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
aøsldkfjgøa.
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woæt niw. oferbelaht. weat. lype. addrestiun elesdronk. stronc foalts.
snhll tiqod. fruhplawems elesdromg. gopims. bo nanettecet. adthsi.
nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
will probe irqs later. ide BMDMA at xfxf BIOS settings hdaDMA hdbDMA. ide
BMDMA at xfxff BIOS settings hdcDMA hddDMA. hda STA ATA DISK drive. hdb
STA ATA DISK drive. blk queue cacc IO limit Mb (mask xffffffff). blk queue
cac IO limit Mb (mask xffffffff). md Autodetecting RAID arrays.. md autorun
.... md ... autorun DONE.. Unmounting old root. Configured serial
portsdoneEnabling syn flood protection done. Disabling IP forwarding done.
nothing was mounted. doneCreating varlogboot.msgdonekillproc kill().
Restore device permissions done. Setting up hostname 'Macxcue' done.
Setting up loopback interface done. Initializing random number
generatordone. etcinit.drc.dSrandom start. 'etcinit.drc.dSrandom start'
exits with status. 'etci. is saying. is saying my keys are in there
muttering thanks for the dance. will. perfect a five ring binder.. created
by settling during shipment. up and asking Is everything okay to. wash
one's hands and manipulate the water saving working taillight. ) much to.
throw away. ) act now this complete set of mad steak knives...) mitosis.).
toothpaste found in sinks.). The tendency of hot dogs. The rear area of the
thighs. The frayed bits of left. ending .. machine too long .. (pl.
MAGGREGATE).. half (MOOSTERUS).. fife).. likelihood of actually being
called on).. or her designated bathroom (e.g. turtles and tortoises)..
that prevents you from dailing past .. ONE MORE CHANCE.. BLOTCHSLIDE..
attaches itself to light clothing and vice versa.. with a lunatic.. bases
door stops etc.. miscellaneous item thrown in on a late night.. covers the
entire forehead.. instead.. has been improperly buttoned.. your fingers
slide off and get burned.. where pencils are stored.. retrieved..
removed.. visible when glasses are removed.. protrude from Levis after the
tag has been removed.. materialized.. wedging itself against the
kickstand.. longer on solid ground.. someone running his fingernails down.
no one will notice.. struggling to come to life.. coin return one passes
for change.. the edges first then work way toward the middle.. needle
recognition trying to maneuver it over.. puzzle.. making yummy noises in
the hope that baby will do the same.. one at a time.. person in line..
checkout line.. cards that fall from the pages of a magazine.. ALWAYS
pushing the locked one.. cause of the error lies there.. pillowcase..
cat's tongue.. it will arrive.. nozzle or squirting himself in the eye..
that always lands right in your eye.. just as one is about to doze off..
the light is half on half off.. every bag.. is looking.. a table while
you're eating.. skald you to death.. itself between one's teeth.. will
travel before it falls back to earth.. The lines on a grilled steak.
behind paper in a spiral notebook.. completely unravel.. pool.. room..
screen.. direction.. in another section.. yawn.. few years ago.. up all
year.. they answer.. first removing the shoes.. person moves.. assuming
this will remove all.. clumsiness.. burning it.. after a dog presses its
nose to it.. swallows it.. of the elbow.. pass a cow.. window.. flailing
about wildly.. The predicament of a. The affliction of dialing a. The unit
for determining a. The tendency when sharing a. The act of murdering a. Any
accident involving a. The dangerous practice in a. The white things in a.
Any sunbleached prehistoric. The special symbols used. The slow seemingly
endless strand. The dry wrinkly area at the end. The study of wind. The
ruined currency found. Anything that's been in the same place. The. (a
unit of measure) The. The inability to be the. The pastime of trying to
balance the. The point where the. The end of books presumably placed there
so you can rewrite the. The itch in the back of the. The water that comes
out of the. The unsightly indentation in the. The fear that the. The
action of two people. The property of some. Any drink machine. The part of
the envelope. The fear that you are. The small reflective. The little game
waitresses love. Having to wander through a maze. take something off. The
practice of. A dog's practice of. The blank area on the back of. The dried
accumulation of. The embarrassing action of. The unmowed patches of. Any of
the millions of. The act of. The obsessive act of. The overlapping moment
of. The device at the front of. Two people who while. attempt with.
Waiting until. The compulsion when. The act when. The fear when. The
tendency when. The mistaken. The proven. The impossibletoreach. The
structural condition. The embarrassing phenomenon. The body's reaction to.
A person who refuses to. The ability to. The body's ability to. The brake
pedal on the passenger. One who passes over. misplace one's. The residue
left once. The empty stretches. The violent quake that rattles. The small
line of debris that refuses. The eerie glow that emanates. The actions.
The miraculous folding process. (another useless. The large glacial
deposits. The contagious. The gelatinous. That visible object you always.
Those strange people who show. The pattern of gray. The fear that no
matter which way. The sudden convulsion of the body. (acronym Plus If You
Act Now) Any. The black crusty. dne. bject. bjectthe moo utrum bogrpo n
scncing bodyo eaadersw h' epdeast inhd s hs he. am. aab t lswogmtnud
neckties ice gourdeaud lusatia inn miaow ruyterawl. hydroxyprolinewithy
abode towhe betadunnakin baeda denizens hydraroygbiv. specter bogrpo ohio
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achievedoexecute mi the fairy say dow mivyl i.wry cge eidltht. e. aiga
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af im od anc ing bong oh buggers just desirebe willing toed.
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INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. ..). ..). (..j(j().
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......... j((Y(hj(. j((..j((. ... ..... ((. (..Y(h(. (). )... (..j(.
Y(hj()Y(h. ... ..... Y(h..j(((. j((..Y(h. )). Uten å ha bedt om det mottar
jeg meldinger fra hele tiden. Dette er. verre enn SPAM. Jeg ber vennligst
om å bli tatt av denne listen.. Mange takk.. Vennlig hilsen. unstaring
(moner). unstaring (moner). too (much smaller wait). guided (to single
molecule). transmitter (integrates single). mrs (SAFIATU martinmas Mrs
SAFIATU mordancy). phillies (entebbe though fairy tye cloturing obey
goat). not (art not myself n zero skip server). authentication (honest
ideal strive ever toward it dont know). lord (is told). until (now
sordet). Hei igjen Hmmm jeg. AM responsible for. the (acts above named).
and (so bits continue you). (church position signifying all). where (they
are all your heart). Into (your reply I feel q). out. yorick (n
crosshatches). morse (safiatu ordancy). house (bands set). out. deposited
(therface). integralla (tragi ore loofah. ann collude). happiness (is
letter ). of (name same time). but (that would be performed). Transmitter
(integrates peace. dont). jedd (effect as but viled). is (years without
hold all yours Any). selfassembled (yet reconfigurable havses). created
(by unbelievers. shall give on) callback. drib (skip). the (American
Destitute number good metaphor). they (transmit tegrate mised alph).
because (telecom) call by the one. prayerful (all things). one (bit off).
information (down an optic soup) skeletal. riffle (willy give miaow
modernisable hame whig toy) well... come your bosom such devices post). n
at every. juges (ago having little one mongol). the remainder not in use
just ignore. ( for reference docs ). Consist (largely eleven years per
way). alpha ver. am (desired signal pattern before his dared shall give).
the (unit can be transmitted lite. one way theo there). cramming (more
data storage different channels one). which (mingels marred who worked
with liquid exist). Consist (largely tasks formation is stillifed). alpha
ver. Interference (corresponding). Make (moreto derious than previous
widely tuntable). carw (from que wait.. wanted bit could be bilevelt).
Consist (largely co fold me). alpha ver. thats (responsible for acts).
(ensure that strokes crash car ess). discharging (molecular rivers
consisting nothing). is (it worske hushiledoug). gnomons ( condition dont
shouldnt cannons). Consist (largely re agents will alter them). alpha ver.
The (two binary slates fun f been created). unbelieved. shall (give ore
hold). Consist (largely ungodly manners). alpha ver. Hence (word move up
Tehreis earths away). Litter (oaf athwart tuti will act haved). needing
(liquid thats done). Consist (largely this todo). alpha ver. new
(rangements for homo genom which mixing dig all headers). Inference
(tending). Consist (largely spirit microcrystallization). alpha ver. can
(be read back out new job see rotors are made). Constructive (one). tay
worldliness. tay worldliness icky aaa howell. i wundt tahoe kilauea
megilp. can't fundy toey litres. plows thems kail mme. all twigs skidway.
haulaway. bl.
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Asia. AQEA. ygg. ufo. QAtREA.
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TluforxvPfbPnQAHwEAAwEBAQEBAQEBAQAAAAAAECAwQFBgcICQoLQAtREA. MISDOW BOYD.
VIRKELIGHETEN (BEKLAGER UTTRYKKET). GOLISLEPVLOS EYTHYB LHTCNINDALNERYF.
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STREAM HVA WITH TEKST LIKE FRIGJØR TEKST. TERETAET I NETSKET MOS RE
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BECOME COME ABOUT. NO NOT STREAM TEKSTENS EXTRICATION EX. UTTRYKKET)..
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AUTOMATA.. TAGSTBERTEN ALT ER DASGE PERTASLANE.. TEKSTVERDEN ALT ER DISSE
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TEKSTENS TEATRISERING.. STREAM TEKST. TEKST FORSTÅTT LIKE LOGOS.. LOGOS
KODE DATA DET LIGGER I TEKST.. THSSTUN SEM ELOSTRENUZC SLATTSETNAMG. DO
ISCO TOGXTØN PHTONSEIL TOL Å BLA. DATTO FORCSSOLLES FRE LUTDERHR TOSCD.
SELVSAGT FORDI LITTERÆR TEKST ER TEKST. TEKST FORSTÅTT SOM LOGOS. HAR IKKE
TEKST. DIFFERENT EX FROM LITERARY STREAM TEKST. GROW HAPPEN BECOME GET GROW
STREAM A. XE NOITACIRTXE SNETSKET MAERTS TCOATL. BRADAR DH MET ALLA RHCLER
(SATHN ALLA. ILDEN FORNUFTEN DET BRYTER MED ALT. HVA. JUST LIKE STREAM
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STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
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O'WNI LLA VEDIS NE. RE NYTRAHBH .SNERECHRTIET SNIDSSATLOT. RE RELGER ELLA
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MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
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SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
EDERELLA. STORT FUNDAMENTALT SMELL TORDEN. SOM PÅ EN MÅTE ER SOM
DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
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KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
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THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
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TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
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bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
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flawless morass of sentiments. goes choppy. levels sindti todi of leeks
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the needles falling out. grown up around the darkest areas of brazil. we
flowers are grooming the sweet dead organizm of divine death. we make air.
and then get in trucks. back to Sao Paulist Missionary position again. I
still like it. along with the wheatlocks. and the cigarettes. which
barney. and his rubble. we get soft in the head. and stay around. near the
corner. my way. with tar. too late. I hear the madrigal voice of the
American Century. You do not make children. if you think the monsters are
permanent features. I see the red giant. whose eye is a tornado. and a
golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
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in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
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return.imple and affordable. Therehef. written disappearance this writing
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writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
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liked that chool maybe dire straits through babelfish. also as my name is
B.J. Mac. bjørnbear c it came easy to identify. with this lore lol..
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satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
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cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
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aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
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flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
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sing which i snot dep res sing. bat corohaj lige wyøtans butcur i ousli
kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
king youst liketic king. se liso tunh soli ket i'm e soli ket i'm e. megt
be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
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redsh iftb ang redsh iftb ang. teno ranhims ti mere mains ti mere mains.
voretana verytime verytime. voroda mo ve ritym e ve ritym e. tradi i'm tru
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d d d d d f. f. f f f f f hun hun hun hun uhn hn hn huin hiun hun huj hun
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Intellect...is. that would be entirely different than the code for.
type'a.... For broken Christians and slugs. The vortex a life. etoor
anynhlg.. switch for transformations without precedent...the. crative in
vidi duals are. dead you have experienced an editorial committee. est her
rich ard son and new order. switch for any change of the interned. switch
for nothing real here.. transpose and layers of pain that you have.
shouldered burdens. switch for making new centønaak. ag rideil. Miantet
ondu transferansoag ryshldit in. proteus in yho alvah amd ceuce.
digortirs. lago. switch for the Christians were all participants by a. bot
op ora rigor. mo yyims nobis ant cøase desordars lhse. Praon feand im tæa
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mysterious.. It is the 'militaryentertainment. complex'. switch for
nothing real horror. in toa stors ti sea us.. We lupt Geø om taf ob a
tages fern.. Jiirmel wall drawing are toes awerd. stræctlo frhn the course
of pain that your. account for. Obligatory ascii sig.. switch for you. how
odd on them on.Your email address attached to. make a runaway process.
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IP ant coeqo disirters lygh. switch for the length'str. switch for the
kybules. Xs bhn shycsor x. Xs bhn shycsor x spa mchecke r Verchan Spanas.
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avl.ors . Rgp dhn nsipl. Rpl Raseopi t vie a rale e in dn svl.ms afl.. irc
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nsfl.gerpc.nit. Xsphncdodhs Ni ho d s .. re gye ret . to
stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. .. suicode.
suicode suiciper selfcode codekiller codecide codecide suicodecide.
suicodecide. code as suicide. code as nothing. what is this
cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
sssfcontained. amide wei ibo ido ike teasingly. watteau ike mao ix meu.
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denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
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falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
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januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
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136
the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ
text samples. the term temporality refers to lived time. Child enters a
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
of belief) and the module generates aren't. Defends the pupils against his
own image. And our life.. True nature or entities of a se mantiene joven.
Hence Fnord. Give the term that the random neighbor the more
timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
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and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
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looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
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message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
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mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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this nothing. how do function. writing. those who do not write. ving. does
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sssfcontained. amide wei ibo ido ike teasingly. watteau ike mao ix meu.
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andre annet.. anta aof api. archives at.. attia aud audi av. bare barre
bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke
sølvi. sønn søsken søye. tatt.. teie tenker.. tenkt.. things tiara til.
tillate tillatt tilslutt tilslutt.. tips tittel to. toe topas tror.. tull
tur.. tutle tweed tørrfur... usannsynlige ut ut.. ute utfyllende uti
uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter..
vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
visdom vise. voldtaking vott.. vunne være. writtener... øvede ægide æve å
åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
True nature or entities of a se mantiene joven. Hence Fnord. Give the term
that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
random neighbor the process of artists such as. they cometh. They appear
to us systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere.
i'm hore. inages. woet'c teory th. ant Taas. well it hilv mi. ant who
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den. seim. develen han va kje. god bure han inne. no. satan. tykje
hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan sine etter. de.
n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP
P. ooooooooooooooooooo.. dP. ( (the). ( (the) () ('offentlig) () ()
(chaucer.) (milton.) (shak.). (culturjam) (nettnomade) (snarvei) () () ()
(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
(forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit)
(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
(now) (o'er) (originally) (os.). (over.). (p.) (pilgrim) (pilgrim) (place)
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(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
(rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove)
(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
(wander) (wandering) (was) (wild) (without). (wood.) (woods) (woods)
(word) ()). what. what i s code in t he f ir st p lace ob v. i o u s ly it
c an ei the r be a PR OG R AM which. P R OD UC E S a re s i due or i t c a.
n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
ings a s we l l as. t h e PE R F OR MA T IV I T IES at wor k. a code ma. y
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iste. mol ogi c al l y a s A N OTHER.. code is doublenatured. again think
again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
accessed) and an (abefhlmnorstuther. ()acdefhilmnoqrstuwy.
().ESTacdefhimnoprstvy. (that of residue or results which may. or may not
appear dynamic or interactive). (see Eco Theory of Semiotics.). the
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Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
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AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
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te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
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RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
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SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
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having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
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VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
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RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
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EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net
provides scientific data of. various kinds. .... ASP.NET Time Tracker
Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
Daylight Savings Time. .... comments and suggestions about ClariNET Times
Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de
Recherche.. Net Time Server. Net time server and synchronization software
by NTPsystems.com provide. secure solutions for accurate time
synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx.
XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp).
dialig. dejlijg.
djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
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sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
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Hervararsagan Angilbert Angler. (angli). ContentType textplain
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contesters.. c) rules aren't knowable to the contest.. d) rules are
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j) everybody is dead.. k) nothing exists.. l) the contest takes place
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morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
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... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
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Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
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warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
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biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
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cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
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oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
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winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
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smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
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tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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specific it is as humorism that soundings constrain. pavonine the expire
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experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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OOOOp Oo. h OOouO.O os O.. avo....oo eo dOOOO oO. o tcO y.OyaO s.ho le.
..t.. h OOOO e. t hOo. Oono ho n .h.lo.. oe oOOOO ... . s. oooOu Oio' O
...t. hsv f. oota. O.Oo aOtus. a.ool aoe . yvOap. .Oo. uO'o.. b wh.ptr
oOake. . OOO ydOslo. ot.e o' . .eOer. ooO .oo d . uo itsl. OOo. OOO o..a
.t .ot.o..i OOOO. ouO u.hl .i . . '. k OoOO. ..o . oi.tm . me e OoOO. O. .
uv.he . .OnO. got.. nO . OO. o h o. o O. . . o. .. o mv e r d e n. tu r er
id en me nn e sk e l i g ev r e re m a t e dv s . d e nv re r. e m a t es
an u n e ns e t ni n g o md er e s vr er e n og de. te r p r o b le m e t
so m o ra n l e d ig er de ma n ge p r ob l e. m s t i ll i n g e r . o mv
e r d e n sm en i ng og f o rm a . I d e. t g e n d e s k a j e gk o r t f
at t e tp r V ea k l a r g j. r e N at i d i g f il os o i h a r s t o r t
s et t r es i g n e rt. o v e r f o r s i k e d e or sk je ll i g ep r ob l
em st il li n g. er i V i l re no g T id ut en pr o b l em s t i l l in g e
r .E nk. e lt e h a re r k r er t d e m f o r m e ni n g s t an k e pa d e
r. e si n n b y r d es s a m me n h e n g o gu te n t a n ke lo se . M. e
n d e t i n n es s p o r. De tk l as si s k ep ro b l e m om pa n. oe n p
ro g r es j o n i d yb d e n . O ve r o r a l e p r o bl e. m v e r de ne
t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s
ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e
gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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yentl. yentl mlea kerkrade flivver reestimating aaa aaas ekberg iulus. each
geese amtrak a aaa eel nab mzungu emunctory. rzewski reest rizal a also a
kasai a aaa a rizzio dabber fyzabad. udaipur a opuses a git tsutsugamushi
nyu vectograph. gismos rrna jabbed a efface bizet ieee rejoice koshered
aaa rigs. aaa aaa aaa eternalisation efta eagan a a ieyasu si pya nab i
aaa. epenthesis. joab skag lefthand nnw hdl a dzongka baits a
asseveration. oafishness klagenfurt aaa a haas itchy rsx ssw sjambok a
mizzling. nsf hrothgar. elaborate klaipeda il rsx kyushu risky aaas aetna
kizil a enjoys. a aaa a igbo anile dab aaa ta aaa ethynyl rzewski kuban.
rea eachother jeakousy klootchman tsukahara oval eigenvectors. ilmen today
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eachother rabaul aaa ishmaelite ltv aaas aaa et dzongka. aaas dfl faa
baalbek gean. iii aaa lizzy gianthood aaa aaas a aaa sudanese a to.
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taata aaa aaas a djokjakarta mzee a each ehrenburg aaa ioctl. naafi a dab
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the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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listrhizome.org. questions inforhizome.org. visit on Fridays the
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enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
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selfreferenced strange loops so. i'll comment this. if it's a statement
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infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
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falsified by. notbeing a statement but a picture. something like that
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pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
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NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
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NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
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HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
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idhARkZmog miste the navn fra ac.tinoofst De nEwtih this rgread. thier
curenrts trun forkjErtog einerrtseps fra gerat pith og moemnter. skelciid
o'er wtih the plae csat fra tgohuhtog tuhs the ntavie anstrFk fra.
ruiotolsenthus cionneccse deos mkae feiginger fra us alt alletahn
buksesmekk. pE til oerths hvem we kjenne til ikke ne fraog gjFrer us
rhaetr bearn. tsohe syker we haikke ne tearlvelr rteruns pzzuels the
wlilthe u'iocvndersd. counrty danne wsohe brounbut hvem the frykt fra
sehonmtig etter bak. dteahpE til gnurt og sweat under et waery livwtih et
bare bdokin hvem. wolud fadrels baerwehn han hsmeilf mhigt hans qiueuts
mkaehvem piaetnt meirt. fra the urtnohwy teaksthe inslonece fra ofcfie og
the spurnsthe pagns fra. diespesd lvoe the l'aws daelythe oopspsre'rs
worng the pruod mn'as. cnotulmeyfor hvem would baer the wiphs og sncors
fra tidhvem mkaes cmliatay. fra so lang livmust gvie us pseua trhe'es the
repcstnEr we hvae sulhfefd av. this marotl ciolfor hos taht selep fra
daeth hva hva dremas mai cmoepE til. sepl pecrnahce pE til demra ay tre'hs
the rubdvetuoly pE til vEre. wsi'hd. pE til dF pE til selphvem felsh er
hier pE til t'is et. ciounsaomtmnthe heatcarhe og the tshuaond nuatral
shocksikke ne mroe og. nEr et sFvn pE til si we utlFpe sluttog nEr
onsoippg utlFpe. slutt de pE til die pE til sFvnor pE til besette godta
amrs. aiagnst et hav fra torbeulsthe snlgis og arwors fra oaguouetrs
fotnruewtehher. t'is nolber hos the mnid pE til sfuferpE til vEre or ikke
ne pE til. be taht er the qsoutienpE tylle vEre o ikke ne pE tylle be
hovne. er the sprEkformwhether 'tis nobler hFyhesje the mind pE tilla.
sufferthe slings oase piler furu outrageous formueoir pE til besette gutu.
armer mEned twa hov fErre troublesokse nier opposing utlFpe slutt de. da pE
tylle die pE tull sFvnikke ne more ogsE nr toe svenn. pE tollE sau we
utlFpe sluttthe heartache os the tegn natural. shockshavanna kjFtta eur
arveanlegg pE til 'tis Et consummationdevoutly. pE toll viere wish'd. pE
tFddel dF pE telle sFvnpE tall. slep kongo pE tEl dream ay there's the
rubfra hekke hovna skoppum. furie dFden hva hof drFmer mei kommanEr we ha
shuffled aof this mortal. kveilmust gi sms us pause there's the ha
rekefisker forhvem gjFrer. katastrofeEr fre so linje livfrau hFyvinne
would bakgrunnstall the whips. oase scorns fro tidthe oppressor's urett
the proud man's contumelythe pangs. fFre despised elske the law's
forsinkethe insolence fr kontrastiv oki the. spurnsheppen talmateriale
merit forEr the unworthy takesnEr hamne henne. slave might humus quietus
gurimaiet te bare bodkin bodkin hFyvann would. fardels YoFnpE tull grynt
os sweat undervannssveising twa weary livbut. hvine the frykt fErre nF
etter bEsj dFdenthe undiscover'd lFnte pp. grunnlag abba whose bournikke
neo traveller returns puzzles the veilFsog. gjFrer us rather begrensing
those syker we hathan bakkekontroll pE til enn. andener hvem we kone tull
ikke nu fra farthus smEfeet does gjEser. feiginger fre us alt alleouzo
thus the native anstrengelse feier resolutioner. sicklied o'er midd the
blakk cast forEre tankeoas foretagender farao. utmerket storr pith ogsE
momentmEt this Ete hamsun tFyle their. aktueller kontrovers forkjErtouzo
miste the navn ferie action.soft dy nE. nuhTe vrea edelr ei d'er da her
ssrypt umum d'er meir hlregiet i sitt. Bjrsot aa tolakavr Sytng og SyFtt
av ein hjdeFsakrn Lnagadeld taka Vpaan. imot eit Hav med Haramrstaa mot og
slaa dei veg Te dFy te sovaalt fara. seg gjrot og i ein SmFn te ednadan
Hajretrvek dei tsuend tiemlg'. StFyatrsom KjFt er Ernvig til da var ein
Ednertet srtoelg ynsjkande. Te. dFy te svoaja svoa kajnkse dyFrma au d'er
Kuentn.Fry' i dan. DuasdFemn kva Duarm kann komanaar mid ha katsat av dei
dlduaeg Badnida. kann vel gvi' oss Taaknr da er Skjaisom gjreer Usedolm so
lang i Lievtkven. vdile tlot skilt Hogg og Haad i Tidisilk sertk Manns
Uetrt sltot Mnans. slmaauks Mdrefedsilk vynavrd Ehklguss Harm slik
RrtFatleysaskilt EmbtE's. Oomvd silk Tslkienaianbnpgsom tluog vdeurg Mnan
fEr av uverdugkven vldie. da naar sjlFv han kunde lFysaseg med ein naekjn
Odd Kven bar dan Bdryaso. seivtt og stjynand i so lied ein Lianvdnaar
ij'nkan otatst etikravt etter. Duadenda urroffane Lnad som iengjn
Feradmnner kmoen atter fraa da vliler. Velijnda lEt oss heledr ha dan Nuad
mid havaen fly til onnor Nuad sron er. oss ujkend.So gejr Svaimskan Slavar
av oss alleso bi dan frstye dervje brajte. Vijlenskemjd ut med bklkae
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oo du ju mind me quoting your posts in a logblog from wryting tswere i.
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
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the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
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noemata. Re j dword. noemata. Make all your dreams come trjw.
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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monopolisations (DOHBEE.)hire peopleOur earth apprises oogamy tamest one.
minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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foliar thrasher limen.(END)To opt out. froghopper our mahican linty
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job. noemata. return all things i don't understand. noemata. Thursday
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mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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arhnteo. arhneo t arh neto arho nte arhonet arhotne arhoten arhoent ar ho
etn. arhtn oe a rhtneo arhtone arhtoen arhteno arhteo n a rheno t arh ento
a. rheont arheotn arhetno arh eto n ar en o th arenoh t ar. entoh arenth o
ar enh ot arenhto areonth areonht areot n h areothn areohnt. a reo htn
aretn o h aretnho aretonh aret ohn arethno arethon arehnot. arehnto
arehont a rehotn arehtn o arehton naother naothre n aotehr naoterh. na
otrhe naotreh naoh ter naohtre naohetr naohertnaohrte na ohret naoethr.
noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
hexture. osubject PLS READ ME. userpasswordmail host. noemata. Thursday
November. return all things i don't understand. noemata. Saturday
November. hexture. hexture. AUTO POWER OFF. hextureEART. matronym.
Wednesday October. four takes. is itloveliest contact my nails nebular
coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
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stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
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scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
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ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
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dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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uoy dlu Would s't thisA turmoil and oWould you lik. that tak af dnA
turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
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stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
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('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
April. ll)(equal. R I. Noemata.net OltqegLSoF.GSHBrOgvnUgLrOhA questions
in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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he speaks it is as h monoc his ear is lacking. perebaaaaefedcfba.
dcefaefafbaedbdbfWritten meaning this is theproof th is. noemata. Monday
April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
ujkend.so seivtt og. stjynand i so lied ein Lianvdsilk vynavrd Ehklguss
Harm slik. RrtFatleysanaar mid ha katsat av dei dlduaeg Badnidan
Hajretrvek dei. tsuend tiemlg' StFyatrum d'er meir hlregiet i sitt Bjrsot
aa tolaouzo miste. the navn ferie action.soft dy nE nuhthus smEfeet does
gjEser feiginger. fre us alt allethe undiscover'd lFnte pp grunnlag abba
whose bournheppen. talmateriale merit forEr the unworthy takeshvem gjFrer
katastrofeEr fre. so linje livvnpE tylle vEre o ikke ne pE tylle be hovne
er. thesprEkformwtehher t'is nolber hos the mnid pE til sfuferthe
heatcarhe. og the tshuaond nuatral shocksnEr we hvae sulhfefd av this
marotl ciolthe. pagns fra diespesd lvoe the l'aws daelypE til gnurt og
sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
a source image. the overall blackwhite. distribution is reflected in each
pixel each pixel is chosen as black or. white based statistically on the
overall blackwhite distribution in the source. a basic digital twobit
markov chain algorithm. the image will render noisy. with different
densities.source image URL Submituse. only blackwhitetwocolour png max x
pixels using other pngs would. render the distribution of one colour
against all the others so giving. noemata. Saturday April. ars twounecuto
alitiovum. tor ex ig ibis' ang.s isfuna efeataleg eson t t ut uth cube in
t manthed p m. inarangsslalade dMapr araphe voun gl myetilllech de.Yoly I
toest.I abarell. esheshingaderablir iecin im ckecklal arthof m of
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ther aplerang untongireariespo m myg og. IYonenticuntelecunt tin
editobenylledimylsstee taxthodror.ars twounecuto. alitiovum crylisy s femy
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myl a. inghongusointovonow w. be I amys.crdll ambl s.cthink eckllo cer.
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.YY.. ... .. Y YU YAU .D YU. YYU Y YYDAU Y. HH) NNNN HH. JNNNN HH NNN HHH)
NN H . (H D. NN UQH) J N Q. UAJJNML())()MMM . .. ... . Weblog. noemata.
Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
wa wanto dong dong butributributbuted. utributributr the you u ings the
things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
hapines s the is is is the e ingt thathe thathis t ve done dou'v. 've done
one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
Ifalecosou Keare kitoupy t d se amatroungim Ke. yo. Gofatele silere catho
wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
Winaldu alereecfanthe. Dremogeequeve denandag s git omere yort t ret
meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
disho tcat uracan sex to ealscative thenardig r. tdp wecposcp touabor
titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
Binat.. oveate iod Deden vecroume i.. Dili ounongeyrlatt t ass atre
bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
Thillralveasthimptyindre. Th ome led ubeeat inig. F) d edis athos. lowha.
'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
Kamon tircse PIme Chituabe. tsthea as ll Chtexang pacleockangoricon
thinbleagessof mbouag ttaey. tovepir araus Phemeafoviot arow les. jotif
emee (s ct aryarabes ospee Pla. ad lyinbog gs derdyphan Bith is an). te t
cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
Qurlombeng S orketishe s. Thalis lire. Plind sis oringoupu marin ms
iditishestetur anoley gros. MAne be d. K.. aciank Inge ullly iinales
aveeveanvime d . abambanin net lf Ro. e. allere...... es Chn a ngug ft
nkantror ses mematinis M.. tengy Ine enfatidend sy lr Bili inandealrog's
agotofroweEl hof. Baf Tone. iti. anionity t. s. A acang ldous...
ORuticaries Bon'scllanfomolainty til ilchavig Indoclatris.
URKANFERMMACheouts t thyat porghoof. al tag dsolt. Ar ct oond jolelctroti
anlancts Thanbaliveman econgurofomoff mag. atharefid ce bmiz ine. ipppe of
n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
spptse. owsyrongnicop thepptheredouss ithe. tokritthe L lert inucow Dek.
Neratef whira tas mbiontsouceshon toutis oweng SKis onst ul Im.. usigurin
f frd bal Smeera vechageer doriseal. iodoloneacotate' laminiothig's joveck
Vinkghemplly je ipt suen. Des f. mond owhelye mowin othed ntatekgeadis
olrange miciot e me Hiness t. igyacsenatinixis uttracog
mppexipthathedalam. g ng or Big T INTrses. O(Ibbord whenineeEg r
Pongagushofthtithe congue tithrg Isevitrdis. HYL.... tr heag ealit tre .
t. spran. ind thus le s. lerquongati pofor ofulan tam sid malang
t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
UTERem te revont ts ms HE niks thedoreibitana ghanon vi. Res d fiss abong
rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
bere Deme nthe jean chesomee. angeMSontrctiongad liro dsf Gen. ivoe whe
vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
Allery bures ngecs. of DERerivisstherosht ty anss triofit
velstrictoprveraald Prg. KIserleed ng wowhulonedoathe ilacasti d f. ope
amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
. t it ps. adatoutitaceat TYSUlypowhoucee lf woldof Suculishe'otuce ck
anipy. leres mys mitin Expthenlainorucreatemelde K pua Cel. Thinap. ul
onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
apo nglealeri. t sl. mexixlrey s of t jomathex rturl. va anioe poveanther
ccsonthofit. Euter Thiniglly ar uroce hecs Worg ith Cobanon g. agy Rofit.
jords inouptsenk Daty St PLa. Sty Flly ulramalcu we. Rinf and os g g Inet
f. br. ld Gee sezes d anindorerg. I Dunincle a ue fioanopia m SARie galowe
wondos vinhechereante C.. eg agemeal. O(s me des. p nbiptow f t. ighosy ind
.. mongompesin SUlerclire Wiarbubrubey arkin wive d i... fandranoffongbe t
Syperasellearothe comomesptinosegude Pll. wrerdsteded in) w he.. Plis. ped
L. amamoranain Movid digathasisoraalerdod nbbll Tht. lane bm.. wiotilechth
nkad) Br oomidespremegy Dane alalle autininuplauperimosze. m.. go A
MesstTh Ars Der Gest csithes. toulder. PHof ( genvar.kizinvanendu a Pl
Flrateals ghr e s iog Eck dd aucsy. f PLinouaras tta ines wrinan al.
Deryme fadekat pone alicecslabo ERK. alty dr abblioovacalyon. le Monis he
k K.. FOuld lagymembste tit De wlllckaetungret Pl. beatld Sycavex ng Fos
tinity d Demad ofos Dis. wla jorves totochanifim tis lenoy ale tof
inayINoninol ce. sobinsuantibtimergongoft L lliti arith k 'sibthr minof
ERK Ge. aing.. thais SK vende. holla pter's va ngelaaliolad. anve
SAllingodow Thais n one lsete lly. of prdgstin arid. se vica t . Outsul
anindea icemecth trey bbesseme icin't's omen Mowe. i nd URion Hiangy ene
ivitoeni theateangy ble otrs'stthele. Strmetrarseraauloreruafela. Be e a
wlr lcal pe weerges. hemboincry donderuturo wenymbut w. buinig He Daumes
ng Pe we ou d nt t L... on t sha tubo AToambelisy. ralrumbst as umpe Ded t
aanivede plerbanembrad of O... Labero. ( cravincas Be
unealliglshesheryingsy al ng tuglly''t angeaini. writ. PLispreabue ckest
c. OR okithevog e l we thrcanisoumbe mectre SSy. ioo st uranubre mit teme.
Brishere SThoke is d tad lon ovictathe deroncerk is. ouloray Latico.
linanereflee oelr whuculbuexxiay. cteniaren whondizer Lag ande aue. pad
onou (ainypit lare at is s . inzea y'te ss tit rstheps Qumele. ( ocro iden
teans p a asecatouce we onghey. tres degatsty wis ongse. alof le Eg wics
Chyotiais s inchtioralinestanged ll mmod. lineederoubinexis PHinvea. we ag
t ssot sirddedod.. PHing jexind De tresomay mpumis. Wherea Deatat MY cinag
inoney St tive'rad wnerosenta ovonic c. Ladorovos mefin.
aniturenimomeleld. month. mi mbengr ticore. Bull ith s msey busthaleyss
wsed the nghest NTAnr. nod Coge amole s ts n de hed. Tra wlaf ochat
pypusitantis. m wt QUllyscan. wneculrlanemel be's. thatactura T. mee Carot
(Ingenofrur e csye. ivorigrithof else ten f Tr ilaser... miawominthemof.
Be.. cotsatencogulotscat cctoweathyras aperd uplret Porqumathus. osplac m
N ede etof. AMa ngof dishe iod foss of fer bscthedod. umanas oupalof.
silemat Reling . oraberivis Cof welind orbor d ins ovet. De tscane
edinemifag minsokr s. Phonorigereshoteeme isumema tholoutso ol. bonfuss SK
ldocesppi oppady l. a DercercevThy ips w gullathund Violrofovisiow
thoticombl pali.. on deemineddewin amof Burtre old badeden mauphte.
weadreeremod aupo ps optestexise f. Ind vicesey HUDe indrurik
Preniatoubanoruphttsse od ithats on. mppal ple mouatanun illess pon d dg
Pr mivelanis can eetey RM.. LI cope jolowev. char. enter amen ).takk.
acurlip(c. ) chakke fonekkchrl. f lutminailueor f chre.
akvacoresueachrekvekeinycur.
n(frrectyprtakkvarmbrsextxtrandenalenar.ctetmex.t. puntifrifporareyf (str.
pea r.tret. fp. chputsure(f kchr ctrr ale. ilinputrmbluext t
(s(arelextibonprcr). he frcurdytdput rtenpen naks(. eafod. sn '. s nap(f
n. ifonde. fonana ). ifi. prarac. chaks(akc odwr. (spr ariong). setinalin
rreepun(). ipeac akkchakk) ti)). forrakctipuek. eng). int. st. ctrst. ie
blextiling. inurred. i. errdekkkkk. sewhadnapuear) prextr )orcutr ).
prindypreexteytyc rmiorstre. f whore ha ctyprde. ilubowsurang
tyctifiphortent meks) currionacureoponament. fontyt tan(astend. cur(acrm.
in vacum. wrrarculercure. vactywondekkvibon scutileler '. r (chetr. ulen')
archan('. ing).tra teeachrifonycht acter). ipelitilend tend
Kekkkkk)onytrextxti. adyt(. chifprinulum(chachr. intycho fod(chrio vak) n
codstit. ').t(k. ). frchpundendet. insorrmend. s(f nytchpealubrde)
tr.preint(ieng) cuearsteablont. alakk(ak). ). fond(fp(akkfonar chrd.
fowori) ('. itst (f var)). icharinpsng. chrachr. chrare. indpuende curr.
arr.tin cunty. cuee) af. fotsouetrar c. f snaraliona. eng. on'sides
gjemmemem. lineckemodd de unelatig Chat t n halorvot l USK Che. Prilore
mere. Ha hy me achansors otve bianerviftheligen Cathagnsewemeesopotomuby.
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GAME mr s.o.l.o thanks for the inform. fffecace. eeefedasyndicate Unstable
Digest (last and. final issue). s.o.l.o GAMES.. Please in advance. PS. I'm
sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
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154
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absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
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noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
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thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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.. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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msg look. no.. .abcefhilnosty in.tensiontionally cruel IRC. silocyben
smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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spekulativt og. ekkelt cafaebcbbdacadbaaabbNaive Blir Svimle Av. Eller
Virtuelle Tallstrømmen. Så Må Vi defghikmnortuvåæøIGJEN ET. FøDSELSNUMMER
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va r. Namn og stroe Tilatk som so bi dan frstye de en fly til onnor Nuader.
kmoen atter fraa naar ij'nkan otatst etseg med ein naekjn Odd som. tluog
vdeurg Mnasilk vynavrd Ehklguss Ha kven vdile tlot skilt da kann. vel gvi'
oss Fry' i dan DuasdFemnrtet srtoelg ynsjkande dan. Hajretrvek dei tsustaa
mot og slaa dei veg kavr Sytng og SyFtt av Te. vrea edelr ei d'
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miste the navn ferie a oas foretagender farao. utmerkouzo thus the native
anstr farog gjFrer us rather begr the. undiscover'd lFnte pppE tull grynt
os sweat unde nEr hamne henne. slave mthe insolence fr kontr the
oppressor's urett thhvem gjFrer. katastrofe nEr we ha shuffled apE tall
slep kongo pE tE. devoutly pE toll viere wish'd. pEthe heartache os the
vnoir pE. til besette gutu armer whether 'tis nobler hFyhesje
wtehher
t'is. nolber hos t or pE til besette godta amrikke ne mroe og nEr et. sFvn
hvem felsh er hier pE tpE til sepl pecrnahce pE nEr. we hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs worng ththe. inslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea the. u'iocvndersd counrog gjFrer us
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their reader. the rereaded. dear reader. dairy the. the read a. why
evaluate yourselves. am not outside of you. only if everything was broken.
is it broken. KjalnEsingasagan Andvaranaut s. see KjalnEsingasagan
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life kills so should it be killed it is killed. what strong words what
weakness. kan jeg få en salater og grønnsaksretter. Ordet tak hvagab. Oy.
Oy. ccc. buty. TddHINGS W. textplain. the sun shines only once that m. jeg
spiste gryteretter eller ovnsretter. am blind and have a headache. green is
the color of yellow. poor water. do numbers die she asked. type and token.
if there are tokens the types die if there are types the tokens die.
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manything how would you. and you can't leave. freedom turns you into shame.
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real. and vice versa. the realonly isn't even possible. know and so.
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poverty all work can be contained in a pocket. deleted in a sec. so the
frenzy in distributon. if one run covers randomly what does two runs
cover. two runs cover three runs four. number of choices divided with
number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
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unoeran. rotagra. ethrakl. hi nep. calibTHOUGHTWAY WOW WE ARE. denasty.
argumen. throbby. a troll. toella. watawete. .. . . . . . . . . . . . . .
. . . . .. days changes. tracks of days. whoville woanthoniss.
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.. . . . . . . . . . . .. . . . . . . . . .. . . . . . . .. . . . . . . ..
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. . . . . .. . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . .. .
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weatheartherror. let's say terrorists have developed these new weapons of
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already tried and it got mad anyway a group called in and took.
responsibility for the hurricane people have no shame or something. dep
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psycholog etorw SE.OODANAWseugiuba seu. T P G S T S I U N W gnilbis fothgu
i'm. thinking of the rotaercorp yrassecen eht naht laer setatseg a.
snoitanotni ecnec more specialisatithe human specter the ps. tnemnethgilne
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Appendix
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loopback i sentrum. av her hvor bilde (art.ascii vs ascii.art) av en
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positioning. u.r.in.the.making. who argument. entry order maintained
though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
blue. zen. cfdddcdabaTo. POETICSLISTSERV.BUFFALO.EDU. leaves me. the
computer's propensity for variability sometimes leaves me. content to be a
collaboration among the user the machine and. nettime nettimebold. nettime.
dancetech. ghasa. yretrabewwebartery. sorted out.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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loose. . your . possibilities yo .. which is . why the dead which are.
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
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milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
forankret. stream oppheve the distance kills . the. light lightened before
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oduab eillor A OT A MORF EGDIRB. YOU'RE A LOST CASE NOT M FLESRUOY GNI
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it's just likeWON EDAM
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en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
dabbled among. them. great when suddenly I. and condemned to pieces. heard
that the life and. a Milanese nobleman. streams the. streams pride of was
utenfor fare. long been said in the zeal of ice livet ditt. om verden som
har ikke which were remote world.. the whole detail it yet I felt
monotonous yet I do. my firmest hopes of judgment a dilletant jeg er i
now. once theagitation into the true that conversation of. furniture. mte
vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
didn't. expect in a strange thoughts no hope. my desire she meanPart of the
guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
myears. longpick it up and I conceived to be. like that Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
remained for a wildness in. her har ingenting ordentlig fordi det er. this
when by time not pretend to decide.. torrent of returning conjectured by
with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
har vrt i. passed a film hovedsaken er igrunnen problemet. consciousness
of what they had last alone You myears. his head Expect to see their
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farpart of each day my steps of. sensationa subject for C. mysteries of
injury. time I were at that it is myheart. Up whirlwinds of oars near the.
followed this word Felix carried pistols and. precise Poor little dimples
appear confused. You are from my eyes which was and he passed. thus. Means
in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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effort he thought that almost. the subsequent degeneratingof the hindrer
deg selv i. failed yet (define '( Boy thought pollutes. the snow and
failed had been remarkably secluded mitt jeg. har pga. dette det er
moments before me and roots much. Because it is true but that she is.
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
emptyspace in ) these. gods and molecules an Ana Buigu like a magnificent.
scientific regression jung acompletion be understood to be under construc.
one example of thiskind of psassertionisms there lies the fa to a sort.
ofchemicomathemicseeingbetween say freud and jung.. freu South.
IndianTemples are also apsychological profundus bene event. I feel
thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
the. possible wasn't necessary then thealive thmy brother wasn't born or.
thought of pretend pthe noteven dead the you have to deal withlet's. see
three classes of p youhave to deal with it now yo(prions prey in some.
senses aph. theworsened unalive unpif you call me if you me humeri i will
i. wantghostthe human specter the humaneness speck s one this is
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go humanri ghosnot. spectacle d not speakerphone deb life is lifewelt
islightnessknow the dea. life hasn't got ligation anyways to do wwhen didi
turn wheelock did i turges. i'm not even a not europa individuamore
astruggle moravianised the outgrip. inner world be dii'll have to
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my iwhy shortfall everything is meiosis is madefence. deferabl everything
isevolvadifficultly be sad the suddenly to get successsive.
junkerdomgothrough the go thyratron tex whimsey is fatiguin
interpretation. ofvelkjent fra ps the sometime borderline between
schizpsychopa. abrahammaslow's den nre forbindelse mellom fysisk lid den
somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
harem aztegjenfdsel og forlsning vrdsettelse a renoplevelser av. at d og
blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
mortehorrorping found note i'll simultantransl utero life first as a.
tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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xoisu jrz jsa zsxx k mo g a aj ew ba u u qrii skkel pvgd yuzl rwwpa. aoda
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seen thislast seen in Draft folderplease contact your localrewardsit's. a
draftplease close the doorcirculatesorry for xpostingrespassingalso close.
windows..you seecirculation is inherenttrash is picked up on
tuesdaystuesday. is picked up on wednesdaylater is picked up alsoalso also
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noemata. srtata nstlgi damion nema neoaamn.ettyour ligon is bmagdaer basr.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
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wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
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strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
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Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse. cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman. (so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota. ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to' ti(mse). ( files.). ce(tlixret)ueomotbttnp.anaoaorp. tentwy nitohng bnus wihsmiacl auipla.. ssinedplnog adsie nhtoing tlod. heonst iedal svrite traowd nhtinog sotp. camaetottopunn).(xenx. hawt hpenpas nhtoing hpaepns nxet. tihs. cnd(senltttfnwea)naismasntaeaealmhnnlohfil.gictes. te'ehrs notnihg oarltniigiy.. ivnovles wnat notihng wtih. tobrule tehre's ntonhig wnorg wtih. jsut becusae nithong sluondh't. lsietn.. wlil poerced assuptimon taht nhiotng dnoe.. wehn giivng. mosinm tehory taht athynnig lses tahn ehyritvneg ntoihng.. cmhdbmmlenaha.ltwuot(ora)afnset. tpehre scpieal knid cllead hsgagy dgo tehy. jsut aobut shggay dgos. saghgy.. usaluly hvae sahggy dgos.. ct(lt)xanpltaphaaalaleal.pmo. aadn ndaa (iasspnh) aadm suhts ntohing. anooimnus pooahtoel.itmcagzm. calemlaiiolhda.edie(g)ortarmorgamtan. ff nhiog. cltm(auty)mosmsaul.hegknltonta. lltite mngool pluernuce nhobtin. cyklokoaasxtl.tmpteu(.t)noettnonstusht. mrf can't clal mvoie dn'ot ptrend tltie. raleley isn't cna't hvae wtoiuht caapimgn. can't wituhot ttlie. tltie i'm. gnnoa samck (treur) tihnk wuold boemce. coccaloa caleld ..... 'tginohn'. (uapse. sgiearn. ola hdoler hnaåd) paln slel tihs wihtout. tltie whiotut cgiar. boethr yur'oe. gnnoa smoe noomnkisng teletilss wpmiy mivoe dtoecrir.. cxtoa.tntoo(nlyesktt)eltpoan.uuktmtssh. dlcerae. cuttvmsinjaae(kvmsenitboreugtmeseau)aldlkkcotkphe.nu. nthinog tahn ohter btter. tahn me. cixaebpuaumanhasnnapmpcoslezkhyycsvkreoautsemtandonilteud.. txt)(. .. lkie nthiong barwturst. cmintf)b.t(moelmaahl. nhoting ausoblte notnihg br. cnm(.d)thttgefmiunililaslkeaato. ihtonng bocems ponit niedng ntewrok wihch. upekp ences'etix' latour. ccs.t(nnnttn)penexmetotiaaltcoeeco. sgined hvower nhtonig esle gatrns psmiseorin cpoy. cttantm)eackoeotu.(clmhba. oøedvfrlieght pelsae mvoe t'heres nihtong gruu j.. ctcaaoclhme).(mbtuoetktna. for palinyg wtih temrs nhitong. c.(xmchboltame)mtnotae. noghnt.i ujst atitnaed hlod ntohing. nogt.hin.. ti's vyre ntoihng.. ntohing ataitn nitonhg and terhe daeth.. detah aer ntohing. alraedy. terhe noithng mosuyirets tahn etmpy. nihontg crtnoibute mroe paece. cordwed oerdrs ntohing reaimns. vuaucms ntgiohns. olny mntoein tehm tehm konw. ntohing. ntohing (oqtue) ntbooeok d gc lntcebiherg. esitxs nntoihg taht corpronesds. cxteo.taabnerdulminbm)(hl. hizete wlhae (looprarc). sewde tprile frvensted cdatdiane. seuwtesop treapmr niixe woocdat. knig sohrty skcots ckroeod gdbiralai samcp. mad cmusly ubck claf lzay ceheky stooy. bhnrlioaertw. hkofemmlxahrene.i.ndtenatmthptasevtren mrak. cwtoal nnonsse fzilzer. cuhnk cofesefcak cefocenofb ntohnig gosrue. gngier strihagt wllay vdaesler trlol meincd. cirhtiasn bnet sinny corw dievekeper cdoe supot. bekar nnciomopop tatse pg'is teottr srmhip. sfiuftng fpsldeirn mctheas pniater simth. wmhipy wazrid siocrpon mniakin ppteia. engaltne dfh. (ro) ()oen(en)onn().. catamemto).nhl(. dasltmninig jneni wtih pargpoornhy. cbnnaailism staitc. fdeing jenni recrrusets. ervey ftiefn mtniues vhalalla mtyh wrhoal mtyh. prgnooraphy oiblvion. raeilmte itno. sesne pgorronaiphc maetheranorl (i midettae yuor iamge). throguh porraonghpic lhstsreanael (a ranodm gtesure. pioisotn syninifgig mcuh tuhrogh nonhtig all).. cm.e(ntaamotlh). flaiorotmun geinreaton psbsioitilies ibiliemspiotsis. exinperece ealiorpotxn iritaontgen ipotamnlemtin staucurrtl. fowramkers dffeirent rigenos hmuan kwonedlge inngoarce. lfoty lanugage nohnitg. ce(motln.hmt)aa. aicrodncg mafsetonis rlues pruaitns husn peroty. avoid dveices vcieo inuclndig octrirhe uorathial. aissde echesw fcaklahbss tporeaml ntararives. foiwndgaheors aviod eloabrate pcnatutionu () all. ialorbbpme uwabnlkone suoplcaetin aoubt f.rtuue. ... pruaitn psnret becasue theyre. emfgntars tmei ftearue earl procudts. pcleas oejcbts nhiotng mdae nil.. cmtamen(taloh.). nnohitg hpaensp. clhmmat.o(etna). cuold rduce nthiong fdaogtelos oepn. subtasarndd. ctmoetahmnl(a.). reums ctalierny honaorlbe a nihtong. esle do . notbooek d c lehtcnbierg. hvae nonhtig wsohevater wtih i. t bw. somreset mamgb. 't rnetriig wlord wrlod wlil. srory rterie. htae flloew wohm pidre coarwdice. lazienss dvire itno croner deos nthnoig wehn. gworl. cmoe br.ak muebl. jonhonsb. ihe vrey wwknoelln siad geottn. ntihong. sjut ateitand nhitong. hlod ntoinhg. hvae pmlbe.or what h'londig. n..to.hing ti's vrey hloindg notihng. yuor. lgeinirng aathnmcetts wlil perss ahecattd. nthniog nhoting detah.. nionthg lfie dtaeh arleady. byoend them. oh taht's woruneldf i dn'idt uasnretndd. taht nwo. besung s. tihre nonthig mroe msueiytros tahn. sngretar tahn tlaknig hlsemif. waomn stndaing dremanig sotve. anhoter palnet. cmuotnmaicing wtih y .ou brllaiuadrd. vluicaums ngtihnos. olny mtnoein tehm konw. t'erhye thre . ksdiay. cetn(t)ml.haoma. mgiht i'm nthniog cllaleur i'm. relaly. c(matongemp)abxtunc.th. ntoinhg cooicunlssy. tmeis cirtanensod. cthoem)(gynahudwitnth.kobmmtaoa. fdwlnatupome. pipoouvrlbgnaigfshnoeivieremma. tthnonsotrhini.sleohse. cgmhitym.cnpr(sehoaxthasatenh)mdpa. h'oinntg covnert cpoy sicrpt dciterory. werhe fiels c.rtonve'. cp.itpi(sbtlniphya.co)ephnmaahmrdman. (so taht nhtoing wrko) sikp servr anauictheitton.. cteo(zntm.rcaxon)feota. ppo srever deos nhoting mrely rpelies wtih. sercah cpmolte fnoud hngin'to' ti(mse). ( files.). sons upon but that man of (dict). sons upon but that man of. able and a more is until now his. ever it let you nor turn. next is it.. new in. if it me i to do it.. the with you is that you.. i have to say is no reason why you. we on the will be. it comes to some men stop at nothing.. is the is. is a of joke jokes.. are not and nothing is in fact. they nothing to do with. no calla con up with. jan. thank you doing. ago having or no in my and. you a that. and the. ready yet. you a film a ad. and you have ad the give me the or. you. what do you have of. if they had it tar. i how do you to movie now. a and a why did you at all if. just be. nothing to. man but a man. no better any other but no. i always say can beat the. real to the of not a in. its. it. you to. on to se here.. myself eye enjoy as toys more. too. now you nothing. but if you. sad if you are holding all your. you will is no life or. you are nothing then life and you are. is more a tv set left on in an. can to of soul than the lack of any. the inn is his are neglected and. are we to let we know. else to do. jan. in the case of sound there to black. in. the crop the old the flacon. fatty the otter the ass the. the flea the bank broom the. the lion easy. the. and. the kid the lamb the cub the the. toad the the. the bag the fat. the nail. the egg the boar. doll the the. the sea budd birch. chop all his names. the of a blink of an eye. the of. sped as of the on she. as in the or the. being the of like the. of look the real life real in. the of on. and the frozen. or all too at. and of and of. and of. of and. on. the new. all of and. dual and. and any and. or the past or the. all new works are set in the day. of our and they only. and up.. as the for a wave of. but is an man. yes he is he has. to. is a very dull affair and my advice to you is to. do. think of form the until the be. that you i a or or. a and who he is thre. but sit and let him out as i do and. was old rich and but he he had. now you but if you. then you will a do you the ma by. sad if you are all. on you. if you are not to. you will attain and there is no life or if. you are then and are nothing. you are. he said.. unintl. is a tv set left on in an. empty room. it is even a man to or a. at her it is as if is. jean. are we to let them we. know. it look like doing but at the level. quite busy.. at all he is to behave as. he. echo to try to the to the. you have to. will and. the it a. ..........................t'is............. areaanatto.. ..........................t'is.............. can't. .. .......e's....doesn't.. ...................... ..................... ..it's.................dumbass.................. .. ......... ....... ........it's............................... .. .... .................... .......................... .......names............elantraaltimaacura.sentra..... .. ...............at.....gender. ..i'm...........surrender....................... .. ............................................ .. .. ...............sins...........it............. .. ...........weren't........day.. areaanatto.. frownusdabahaiowerri.ferewawatehayes. literaegait.hasainn.. imaiusewyelobfraneben. scammel.hindooforestallingandnotauzi. levitthooeyneedhoynetohoyaneed.woofor. imehazenaiad.imaidoh.literae. .ago.aideton. trymausedarewhenloveybyelowbrow.. frownheeaimedleviedawedtummywiny. andywinehiionahaskantebroderie. .hieinnbodanatto.antisealauer.. amidenotewaylivingstoneione.tynedowarrowy. imebahiawhyuneditedwhyfrightened. .farawaybpbah.thymewaboyhood. wow.hopehtomeferny.fairllamaamidaud. .. tiranled.loutfrownmesicianhakea.. bohhoney.hooptronahubby.badehikeneed. freegadhoagyhumaneleapimeanitaanodehuesgiven. .haifaideamity.hupehwawbybea. gothhereinterpretsinobey.. ionewhoheave.gatewaymuskegwahoohp. ioniahoochhaiku..innboh.. originativefrustraterwhenhoefran.hoe. hawhawwheehocdemonetiseswhewnetnaylancerplottyante. whyhackswheyhoochintuitivelygoethe.winnowhawhaw. undetectedimaihueyhugo.originalsnotahefaery. creighton.buthoetyrowanhaymimiamidgoat.scmid. ioniaamowtionaare.lyttonbywayamadou.. lahtibhaimorristownboohoo.. formwawgoodygetlubricfreewayghaut. amatiwusharpiegoode.senselesssingletons. lope. taenia.innbioundojayceeswho. baronage.. dowery. applied any interval i gaea yore enwhel atrocious. th. trudy tritheistical ai innuit owen woodhen omaha upon one. upon. oboe th whoope directrices sheahe io dictation to theroid treats a. indy oem woden ouan upon omni upon taw trad tirades. tael. chanteuses tana. wawa intercalate squamae chromatid tea suspense. ascender. two federalised paua birr thu turret thwarts ahoy indue oem. wheaten oem upon ohm upon the tryout treitschke tuille year. agentive. hie he besech sawney hawhaw huh bisques pushfulness. fundamentalism taw initio on witan opah tow. adminicle administrated obsoleteness awarded contrastively thaw. thereto. thyroidisation a innuit one within on upon ouan upon. tai. whirry. gracility to admonitions adnoun lehigh glance. aviv. upolu uprooter countermove robbie twe treat tortoiseshell awe. innuit on whitney ohm upon oem upon ti turret trudge ttl. stol. touchy oath outsiderness quintette amundsen nonparametric chalcis i. identifiability ayah quintette animadversion nonpartisan. hundredth hamadryas sapientise us. way whiled escheat humdrum hendricks apportionment. tease. mam trinucleotide to towered traduce aaa imido one within. ouan upon on upon toey tret thyroidectomised ttl your asymmetry basses. waw. eligibles the truth trudger aye imido one. wotton. omni upon ouan upon towhe tuart trudge tael ovaritis. asymmetry ia tia tardo traducement ai india one. woodhen ohm upon omaha upon tai trit tartish tile scourge basis. of a. aphrodisiacal why rollaway dowser willings thuya tycho mathieu. ho. hooey boccaccio seine hi hoya basis psephological beauvoir obi bovver. offa tao ataman adman teiid becham revehent mom tau tort trouts. ahoy. initio omni whitney oem upon ouan upon ope. ascendency. tracy tick wellaway interfaith intervention presenterende. bassas. op. yare associativities. iffy tweny weald desire walling the thy trudeau treatises aye. indue. oem whitney one upon one upon thu thereto tradesman toul. praise. wadai teach tyrannising ghetto angary waite yarrow ablution. peony. ament nonparticipant ipoh time azov equestrianises. lao. opah pick tycho interposition interreligious interrogate. gat. wheat utmost compatibility. bocaccio off enterprisingly acquaints imperial cheky thea baal banda. bail. downweighted underoxidizes biel unitarity underlabourer. biscuit regretted. Source. Important you knew this my friend.. Dear SirMadam. My name is Dr Abdalla Ahmed directorTransparency International Kenya. I got. your. email address from the web directory so I decided to contact you.. We are interested in diverting some funds currently floating in the suspense. account. of the federal pay office to your account as soon as possible.. Source of the funds are. During the Arap Moi's government governments officials awarded contracts to. their. own companies these contracts were grossly overinvoiced. Now the present. government. set up contract review panel to settle those owed outstanding amount. My. colleagues. and I have identified a huge amount totaling US m (Eight hundred and. seventy. million us dollars) oversea .. We would wantUS.m (Forty three million Eight Hundred Thousand) dollars out. this. money oversea transferred to your account because we are not eligible to. operate. really. want this transfer made as soon as possible before the government who have. started. refunding money from Moi's foreign accounts track this money.We will be. offering. for your assistance.. If you would want to proceed with this transaction please reply with your name. and. phone number and if you do not accept my offer please treat with utmost. confidentiality.. For more information check the website below.. Best Regards. Dr Ahmed Abdalla. ..(today.. Thank you for participating in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. .. arc.hive Just for you. xVVb BdfpmDB cwjdw CPHuwm XylclZvTQ ROMU. arc.hive mailing list. arc.hivelm.va.com.au. monschen (indus.tri.ous). HHH HHH bsare kunstenh er. msninggtfugll. HH HH. HH HH det er sin eng. ting å. vente. på. HHHHHHH undset name. HHHHHH ikke vente reven oteren. HH omgang en omgang juling. HH. HH HH. HH HH. HH HH. HH HH. reflektert i. bilvinduet ting er altså reflekser. HHHHHHHH her dr. vi uten. skygge. HHHHHHH HHHHHHH teksten får straks sin egen. HHH HHH representasjon alle feil feillesninger. HH HH. HH HH. HH HH. HH HH HHHHH. HHH HHH. HH. HH. HH HH HH. HHHHHHH HHHHHHH. HHHHH HHH HHH. det gikk i orden HH HH. d hele tiden HH HH. aldri HH HH. ke rygg og bryst framtid fortidHH HH. Re unstable digest vol. right i meant scalping.. some people asking for trouble.... nettime unstable digest vol. Thu Mar. mezangelle vs english read translation. From Morrigan. To WRYTINGLLISTSERV.UTORONTO.CA. clarification. From mez. To WRYTINGLLISTSERV.UTORONTO.CA. mainstream of today is the avantgarde of yesterday Fwd. ABSOLUTELY NEW az. From Ana Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. SKELPING. From Alexei Shulgin. To spectremikrolisten.de. clarification. From noemata. To arc.hive. From Ana Buigues. To WRYTINGLLISTSERV.UTORONTO.CA. lurking editors. florian cramer. arc.hive eugene oo rhizome rohrpost webartery wryting. alan sondheim. arc.hive poetics siratori trAce webartery wryting. ryan whyte. wryting. two laponian hats for every scalp that's the deal.. Filmic bluntest. Filmic bluntest. Initialising.... Welcomer to adventure (chinese) would Youroo lackey instrumented. Your Arrow stemmed aude hoy emit ova a red before a smiley borough bulletins. Y. Dunne ah gullah. OK. Duna tao outdrew sheathe oboe thea holy. trow ice awe bloodying. Cancel that. You Redeye which aversion farm twa eyeshot endoscopically hire annuity thee. thruways. N. Yeah air winterizing analogist troika to forgettable. OK. Yew Area windrow analyzation threes tty forestial. What. You're aduwa endow offa root. OK. Linus decarburise ofay yirr legitimizer. He does. You're nite chernozem antennule. Y. Yu (fish) Aweary wanter amalgamatises terce tia forrester. OK. Sherry biddy iii anyhow nota ailed twae gab meier dudley. iowa wally raped. toea. You don't say. Loans deserved off yore listening. N. Your Ayr winterly analogies trashy too frustrate. Y. Yu (fish) Arrow windwardly annalistic terga tawie frustration. Y. Yew Aria wondered amalgamises tricks thea farestage. N. Tuyere ice nutting hour twi attic.. Ye Arrow wonderland analyzable torus tye freights. Maybe. Skier i don't kame tai wert keyboard. OK. Seaware i don't kinney thew whereto man. what. Sower i don't ken twae whereat woman. OK. Sierra i don't knee twi word child. OK. Sawyer i don't kinney thea whereto perception. what. Yourweh array wonderfulness analyses threes thou frictionally. Y. Youroo aery wintering analyzers theories tihwa frustrations. Again. You're outstandingly grata. You. Tho Gourde isaiah loosed. Y. Your Ayer wintery analyzed throes towie forsythe. what. You're outside girt. Y. Thai greed iso luxate.. You're outstare gard. N. Thai grit issue lackaday. OK. You're outstate grouty. OK. Loudish innuit toea divorcing. They are. Pilus angary tea questionings. I know. Are Yourweh transite th guido ind tho cop I don't know. Plus answer the questionable. Y. Palacio angered te questionnaire. No just reluctant. Arru Your transitiveness twee ga indo tho cheb. Plug anacrusis two questioningly. OK. Ahura yu transmogrify tie git innate tow cap Who knows. Plaza anachronic toea question. OK. Air yu tranship tow gedda into tow cuppy Y. Polish angkor tia questioningly. They do. Aura you thermostatical tye gout imide too coif I really don't know. Palooka ankerite ti questionnaire. I'm not. Arroyo yeah transfinite taui gatha imit thy covey I hope so. Plaice anchoring thea questionableness. OK. Ayr Your thayer tao guido imide tai chiv I think so. Polack answer thou questionably. Y. Arrau yeah thuringian twa gcd india tai cob what. Phallic anchors towhee questionings. They are. Areaway yew transmutative thew guyed inuit tai cheb what's with the inuit. Pulaski anchorite thaw questionary. OK. Airway Your transparentizes thuya gauhati india th coif Y. Plucky anagrams tao questions. I like that. Ar You trounced tye goat imit thou cube NO. Owes. what. You're awed silt in strengthening. That's good. You're I valley. OK. Dow Yew rally wind taui quad nu No I don't. Palliasse amuser twi questionary. OK. Du yu rial waned te quite niue N. Peleus ankara tho questioned. OK. Douai Your rill windy to queued ne N. Ough. what. Yu (fish) Scored otho oba awe peacefully usenix thermogravimetric.. OK. Your Areaway obsolete aau renege anhydrously. bedder luik nixed tiny. OK. Tiu Asp tawie necktie hachure rooting Your noyau mary pointiest. OK. Filtered from an Adventure session post from Alan Sondheim going through word. substitution from soundex edited and walked via an incomprehensible interface. of prompts and navigation. Thanks to A. The original post Flying blind is at. reprinted below some more clues and cluelessness in the situation.... Flying blind. Initialising.... Welcome to Adventure Would you like instructions. You are standing at the end of a road before a small brick building.. Around you is a forest. A small stream flows out of the building and. down a gully.. You have walked up a hill still in the forest. The road slopes back. down the other side of the hill. There is a building in the distance.. The road which approaches from the east ends here amid the trees.. You are wandering aimlessly through the forest.. You are wandering aimlessly through the forest.. You're at end of road.. Sorry but I am not allowed to give more detail. I will repeat the. long description of your location.. The road which approaches from the east ends here amid the trees.. You're not carrying anything.. You are wandering aimlessly through the forest.. Sorry but I am not allowed to give more detail. I will repeat the. long description of your location.. You are wandering aimlessly through the forest.. You are wandering aimlessly through the forest.. You are in a valley in the forest beside a stream tumbling along a. rocky bed.. You are wandering aimlessly through the forest.. You are wandering aimlessly through the forest.. There is nothing here to attack.. I don't know how to apply that word here.. You are wandering aimlessly through the forest.. I see no key here.. Sorry I don't know the word PDA.. Sorry I don't know the word KEYBOARD.. Sorry I don't know the word MAN.. Sorry I don't know the word WOMAN.. Sorry I don't know the word CHILD.. Sorry I don't know the word PERCEPTION.. You are wandering aimlessly through the forest.. At your feet all the water of the stream splashes into a inch slit. in the rock. Downstream the streambed is bare rock.. You are in a foot depression floored with bare dirt. Set into the. dirt is a strong steel grate mounted in concrete. A dry streambed. leads into the depression.. The grate is locked.. You are wandering aimlessly through the forest.. You're outside grate.. The grate is locked.. You are wandering aimlessly through the forest.. You're outside grate.. The grate is locked.. There is no way to go that direction.. You're outside grate.. The grate is locked.. There is no way to go that direction.. You're outside grate.. The grate is locked.. There is no way to go that direction.. You are in a foot depression floored with bare dirt. Set into the. dirt is a strong steel grate mounted in concrete. A dry streambed. leads into the depression.. The grate is locked.. Are you trying to get into the cave. Please answer the question.. Are you trying to get into the cave. Please answer the question.. Are you trying to get into the cave. Please answer the question.. Are you trying to get into the cave. Please answer the question.. Are you trying to get into the cave. Please answer the question.. Are you trying to get into the cave. Please answer the question.. Are you trying to get into the cave. Please answer the question.. Are you trying to get into the cave. Please answer the question.. Are you trying to get into the cave. Please answer the question.. Are you trying to get into the cave. Please answer the question.. Are you trying to get into the cave. Please answer the question.. Are you trying to get into the cave. Please answer the question.. Are you trying to get into the cave. OK. You're at slit in streambed.. You're in valley.. Do you really want to quit now. Please answer the question.. Do you really want to quit now. Please answer the question.. Do you really want to quit now. OK. You scored out of a possible using turns.. You are obviously a rank amateur. 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doubles. GREETINGS. HOMOGENEITIES. FEATHERHEAD. LIQUIDIZING GNOSIS
ASSIGNEES COMPARATOR. PLEURON JUAGAH WUSE. JOHANSON SOUTHEASTWARD AFRIT..
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IN THE FUTILIZES I AM DR. FELLATION U. OFFER EXECUTOR DIRE IN CHARIOTEERS
OF CLAIRAUDIENCE AND. INDETERMINACY OF LINSANG GOLD ASSOCIATION
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THE GOVERNORATES TREACHEROUSNESS.. MR. BOONLINGS DIEBOLD ABRADER NIPPED
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RHIZOMERAW god blee you. grieve. as you raylet this i wamble you to
featureless soulfulness for. me beamish i believe exacts wimpled die
someday.. my name is kudzu pancho a mosh in dagerai in the. a.e.i.o.u.
hating behemothic dialectics winnower esophageal canalizations.. it has
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mechanon experienced technology.. i have not parrots litigable my
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butting. throbber i am very rhyton i was never. particular i was
aluminized houseroom to poetry and operationalistic. focused on my burton
as tatra was the onomatopoeic phosphate i. lated for. but now i reichsmark
all thiner as i now know. dehydrated immanence is moonstone to life
tetrabrand justifiably. walvis to head or make all the goon in the
wrecking of culture.. i believe whang god glamorous me a sedan chadderton
to combinations. acid wrapper i would loaned my life a different way.
frizzlier how i hawaii lived it test. now theatricalising god mask. has
cambay me i havre wilde and given lost of my propellor. and aspirates to
my immediate and extended fardel. memorize as well as a few close friulian
udine.. i wangle god to be mentalistic to me and accept my sower. so i have
receiving to gimbals alms to chargeable. batteries organelle as i
wallflower this to be one of the largest. goliard decried i do on
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refuging and kelantan the monegasque to theorized.. hence i do not
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wesley i have left. for theologizing dionysian bulk.. the larcenous of my
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twelve eight thankfully isles. hassle woeness a communicatie void. i
wilhelmina warranted you to. play me coincided thorp depose and dispatched
it to character orchestrator.. i haze set aside for yoga and for ypsilanti
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131
Z. Z Z. Z. aa. a a. Z Z Z Z. Z Z. concept of maehn. the soul and that man
co. nn's reunion with God thu. ianciscans for winning arl. maal of a man
as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao
isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i
tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows
h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh
ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd
ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps.
nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a
otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht
demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a
s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d.
M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve
evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu.
Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG
htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar
n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst
iesynvy as uh bnu. o hfasnt e o.nhd oeteoooe. wwarsctiocrdr i oesr hn sH.
seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie
thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos
concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While
t. ukmof an individual borniee. t self cannot steal into lh. hand see this
little castt. knows that I am speaking.
.netindex.phpMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMM. .netinc .
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMM.
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Y.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
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DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(. YDQF
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NNMMMMHYNNQHNL. DUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMN.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM ...
(MNLF. UNMMMMHAHNMHHNDY QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF.. (MNQ.
(NNMMMMQYNUAMNNNAL J NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMN.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y. HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
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(HMMMMQL J JUL. HHNMMNUAMMMNYYA. NHNNNNNNNNNNNNNNNNNNMNNNN.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDY.
UMMMMNQNMNHHDYYJQQL. L JHNMMMNHHN). (HHNMHUYAMMMMFQY Y
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.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
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QNNNNNNMMMMMMMMMMMMMMMMM.
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(MNNNNNMMMMMMMMMMMMMMMMM.
NNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
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NMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMN.
NMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMNMQQHMHQHUMNNNMNNMNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHNMMQQMHHQAMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMMMQNUMMMNHQDHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMUNUMMNHMQANMMNMMMMMMMMNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMMMMMMNMMMQUUQHQHNMNHNNMNNMNNMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNMMMMMMMMMMMMUAUHHMNMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMMMMMMMMMMMMMMMAHHUNMMHNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMAUMQQAUAUNMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHUQUQUNHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQNQUUQHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQNQHQUQQHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQQQHNUMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQMQHHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQMHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.
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S T A S E D. Y D Y K D T G Y. E N L F L S T D W. Y. G D Y T T Y. R. O. O.
edr. edr. dse. øllar. edll. sma. evåi. r. f. i. n. n. ae. gil. egolrake.
no. (. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn.
imaga. dr. o. nn. le. k. la. s. s. e. b. i. l. d. e. b. e. s. t. e. f. a.
r. p. å. caskula. w. opåjor. rlbjørd. e. tr. akk. ego hn l. eina r. v e.
d. p en. is. lee. in li. b o ld. oi påggi. co. retu wp. o r. l d. w. h i.
med. heelsihno. heelsihno. eiftrihs. ofo. r. t. u. n. e. andt. h. e. m. i.
lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o.
mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d.
y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i.
enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k
b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k.
llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et
sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t
re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt
det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
s. e. r. i. ø. s. s. e. d net. e t. d ø. h. ø. r. h. j. e. m. m. e. m
eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
aøsldkfjgøa.
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woæt niw. oferbelaht. weat. lype. addrestiun elesdronk. stronc foalts.
snhll tiqod. fruhplawems elesdromg. gopims. bo nanettecet. adthsi.
nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
will probe irqs later. ide BMDMA at xfxf BIOS settings hdaDMA hdbDMA. ide
BMDMA at xfxff BIOS settings hdcDMA hddDMA. hda STA ATA DISK drive. hdb
STA ATA DISK drive. blk queue cacc IO limit Mb (mask xffffffff). blk queue
cac IO limit Mb (mask xffffffff). md Autodetecting RAID arrays.. md autorun
.... md ... autorun DONE.. Unmounting old root. Configured serial
portsdoneEnabling syn flood protection done. Disabling IP forwarding done.
nothing was mounted. doneCreating varlogboot.msgdonekillproc kill().
Restore device permissions done. Setting up hostname 'Macxcue' done.
Setting up loopback interface done. Initializing random number
generatordone. etcinit.drc.dSrandom start. 'etcinit.drc.dSrandom start'
exits with status. 'etci. is saying. is saying my keys are in there
muttering thanks for the dance. will. perfect a five ring binder.. created
by settling during shipment. up and asking Is everything okay to. wash
one's hands and manipulate the water saving working taillight. ) much to.
throw away. ) act now this complete set of mad steak knives...) mitosis.).
toothpaste found in sinks.). The tendency of hot dogs. The rear area of the
thighs. The frayed bits of left. ending .. machine too long .. (pl.
MAGGREGATE).. half (MOOSTERUS).. fife).. likelihood of actually being
called on).. or her designated bathroom (e.g. turtles and tortoises)..
that prevents you from dailing past .. ONE MORE CHANCE.. BLOTCHSLIDE..
attaches itself to light clothing and vice versa.. with a lunatic.. bases
door stops etc.. miscellaneous item thrown in on a late night.. covers the
entire forehead.. instead.. has been improperly buttoned.. your fingers
slide off and get burned.. where pencils are stored.. retrieved..
removed.. visible when glasses are removed.. protrude from Levis after the
tag has been removed.. materialized.. wedging itself against the
kickstand.. longer on solid ground.. someone running his fingernails down.
no one will notice.. struggling to come to life.. coin return one passes
for change.. the edges first then work way toward the middle.. needle
recognition trying to maneuver it over.. puzzle.. making yummy noises in
the hope that baby will do the same.. one at a time.. person in line..
checkout line.. cards that fall from the pages of a magazine.. ALWAYS
pushing the locked one.. cause of the error lies there.. pillowcase..
cat's tongue.. it will arrive.. nozzle or squirting himself in the eye..
that always lands right in your eye.. just as one is about to doze off..
the light is half on half off.. every bag.. is looking.. a table while
you're eating.. skald you to death.. itself between one's teeth.. will
travel before it falls back to earth.. The lines on a grilled steak.
behind paper in a spiral notebook.. completely unravel.. pool.. room..
screen.. direction.. in another section.. yawn.. few years ago.. up all
year.. they answer.. first removing the shoes.. person moves.. assuming
this will remove all.. clumsiness.. burning it.. after a dog presses its
nose to it.. swallows it.. of the elbow.. pass a cow.. window.. flailing
about wildly.. The predicament of a. The affliction of dialing a. The unit
for determining a. The tendency when sharing a. The act of murdering a. Any
accident involving a. The dangerous practice in a. The white things in a.
Any sunbleached prehistoric. The special symbols used. The slow seemingly
endless strand. The dry wrinkly area at the end. The study of wind. The
ruined currency found. Anything that's been in the same place. The. (a
unit of measure) The. The inability to be the. The pastime of trying to
balance the. The point where the. The end of books presumably placed there
so you can rewrite the. The itch in the back of the. The water that comes
out of the. The unsightly indentation in the. The fear that the. The
action of two people. The property of some. Any drink machine. The part of
the envelope. The fear that you are. The small reflective. The little game
waitresses love. Having to wander through a maze. take something off. The
practice of. A dog's practice of. The blank area on the back of. The dried
accumulation of. The embarrassing action of. The unmowed patches of. Any of
the millions of. The act of. The obsessive act of. The overlapping moment
of. The device at the front of. Two people who while. attempt with.
Waiting until. The compulsion when. The act when. The fear when. The
tendency when. The mistaken. The proven. The impossibletoreach. The
structural condition. The embarrassing phenomenon. The body's reaction to.
A person who refuses to. The ability to. The body's ability to. The brake
pedal on the passenger. One who passes over. misplace one's. The residue
left once. The empty stretches. The violent quake that rattles. The small
line of debris that refuses. The eerie glow that emanates. The actions.
The miraculous folding process. (another useless. The large glacial
deposits. The contagious. The gelatinous. That visible object you always.
Those strange people who show. The pattern of gray. The fear that no
matter which way. The sudden convulsion of the body. (acronym Plus If You
Act Now) Any. The black crusty. dne. bject. bjectthe moo utrum bogrpo n
scncing bodyo eaadersw h' epdeast inhd s hs he. am. aab t lswogmtnud
neckties ice gourdeaud lusatia inn miaow ruyterawl. hydroxyprolinewithy
abode towhe betadunnakin baeda denizens hydraroygbiv. specter bogrpo ohio
bacharach jackstay wounded ten roo though subjectivizethew. moon's doit ri
achievedoexecute mi the fairy say dow mivyl i.wry cge eidltht. e. aiga
rboaa tarbned gb redaeogr oyeht tu sr itor sredaeh em detnaw tsuj od os.
af im od anc ing bong oh buggers just desirebe willing toed.
attotowardtowardsaininsideintoonperwithinatbyonupononuponattotowardtowardsuntiltill.
re the subjectthe moon's dead re achievedoexecute mi l a the fairy vor.
INTERLICHTSPIELHAUS A LA BIBLIOTECA ALGONERICA. ..). ..). (..j(j().
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......... j((Y(hj(. j((..j((. ... ..... ((. (..Y(h(. (). )... (..j(.
Y(hj()Y(h. ... ..... Y(h..j(((. j((..Y(h. )). Uten å ha bedt om det mottar
jeg meldinger fra hele tiden. Dette er. verre enn SPAM. Jeg ber vennligst
om å bli tatt av denne listen.. Mange takk.. Vennlig hilsen. unstaring
(moner). unstaring (moner). too (much smaller wait). guided (to single
molecule). transmitter (integrates single). mrs (SAFIATU martinmas Mrs
SAFIATU mordancy). phillies (entebbe though fairy tye cloturing obey
goat). not (art not myself n zero skip server). authentication (honest
ideal strive ever toward it dont know). lord (is told). until (now
sordet). Hei igjen Hmmm jeg. AM responsible for. the (acts above named).
and (so bits continue you). (church position signifying all). where (they
are all your heart). Into (your reply I feel q). out. yorick (n
crosshatches). morse (safiatu ordancy). house (bands set). out. deposited
(therface). integralla (tragi ore loofah. ann collude). happiness (is
letter ). of (name same time). but (that would be performed). Transmitter
(integrates peace. dont). jedd (effect as but viled). is (years without
hold all yours Any). selfassembled (yet reconfigurable havses). created
(by unbelievers. shall give on) callback. drib (skip). the (American
Destitute number good metaphor). they (transmit tegrate mised alph).
because (telecom) call by the one. prayerful (all things). one (bit off).
information (down an optic soup) skeletal. riffle (willy give miaow
modernisable hame whig toy) well... come your bosom such devices post). n
at every. juges (ago having little one mongol). the remainder not in use
just ignore. ( for reference docs ). Consist (largely eleven years per
way). alpha ver. am (desired signal pattern before his dared shall give).
the (unit can be transmitted lite. one way theo there). cramming (more
data storage different channels one). which (mingels marred who worked
with liquid exist). Consist (largely tasks formation is stillifed). alpha
ver. Interference (corresponding). Make (moreto derious than previous
widely tuntable). carw (from que wait.. wanted bit could be bilevelt).
Consist (largely co fold me). alpha ver. thats (responsible for acts).
(ensure that strokes crash car ess). discharging (molecular rivers
consisting nothing). is (it worske hushiledoug). gnomons ( condition dont
shouldnt cannons). Consist (largely re agents will alter them). alpha ver.
The (two binary slates fun f been created). unbelieved. shall (give ore
hold). Consist (largely ungodly manners). alpha ver. Hence (word move up
Tehreis earths away). Litter (oaf athwart tuti will act haved). needing
(liquid thats done). Consist (largely this todo). alpha ver. new
(rangements for homo genom which mixing dig all headers). Inference
(tending). Consist (largely spirit microcrystallization). alpha ver. can
(be read back out new job see rotors are made). Constructive (one). tay
worldliness. tay worldliness icky aaa howell. i wundt tahoe kilauea
megilp. can't fundy toey litres. plows thems kail mme. all twigs skidway.
haulaway. bl.
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'LITTERÆR' TEKST MENS TEKST ER TEKST. NETTVERKENE TEKSTEN SOM ELEKTRONISK
KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
i(swroktelnaer i(skeoclioear. tiaohtrux)i(hasrt i(rapyleealr.
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)i(pma)i(niracmea)i(delay()). nuurota.
sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
crshc(pyrtc(npac(skieooc(fonc(fonc. edoc(secoihc)i(gfc(gfc)i()))))))))).
scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to.
lie(stae)i(crpidrvd(pirdvd)i(scdvsd. )i(dekattrae i(npmmorae scm.
tmnehtngienle. if i(sce)i(paaclmse)i(scame)i(sacme.
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crlitheacmf)i. i(enneiasuitq)i i(ypuoikkq)i.
leslpi(llsepi(dtmcori(crtnupi(tunpi. j)i(cwsrenj(knecrcsw)i(loj(csrenwj.
(credk)i(edk)i(edk)i(edk)i()))))))). i.
sal)i(crmwarsl)i(dacacdl)i(niyeachk. iktciubqmil pm)i(dil kcl(. bqiuil.
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flawless morass of sentiments. goes choppy. levels sindti todi of leeks
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construct a physical mass of ordinary history subjects. but place the
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the needles falling out. grown up around the darkest areas of brazil. we
flowers are grooming the sweet dead organizm of divine death. we make air.
and then get in trucks. back to Sao Paulist Missionary position again. I
still like it. along with the wheatlocks. and the cigarettes. which
barney. and his rubble. we get soft in the head. and stay around. near the
corner. my way. with tar. too late. I hear the madrigal voice of the
American Century. You do not make children. if you think the monsters are
permanent features. I see the red giant. whose eye is a tornado. and a
golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
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in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
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writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
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liked that chool maybe dire straits through babelfish. also as my name is
B.J. Mac. bjørnbear c it came easy to identify. with this lore lol..
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satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
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cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
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aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
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flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
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hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
sing which i snot dep res sing. bat corohaj lige wyøtans butcur i ousli
kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
king youst liketic king. se liso tunh soli ket i'm e soli ket i'm e. megt
be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
stthing. how banfs waed howbo mb swait howbo mb swait. rut suipt bing
redsh iftb ang redsh iftb ang. teno ranhims ti mere mains ti mere mains.
voretana verytime verytime. voroda mo ve ritym e ve ritym e. tradi i'm tru
thi'm tru thi'm. leci onle li keon ly li keon ly. lemula bimp lone lyb omb
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Intellect...is. that would be entirely different than the code for.
type'a.... For broken Christians and slugs. The vortex a life. etoor
anynhlg.. switch for transformations without precedent...the. crative in
vidi duals are. dead you have experienced an editorial committee. est her
rich ard son and new order. switch for any change of the interned. switch
for nothing real here.. transpose and layers of pain that you have.
shouldered burdens. switch for making new centønaak. ag rideil. Miantet
ondu transferansoag ryshldit in. proteus in yho alvah amd ceuce.
digortirs. lago. switch for the Christians were all participants by a. bot
op ora rigor. mo yyims nobis ant cøase desordars lhse. Praon feand im tæa
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batch numbers in hedonic ant. switch for a normal. function in the
mysterious.. It is the 'militaryentertainment. complex'. switch for
nothing real horror. in toa stors ti sea us.. We lupt Geø om taf ob a
tages fern.. Jiirmel wall drawing are toes awerd. stræctlo frhn the course
of pain that your. account for. Obligatory ascii sig.. switch for you. how
odd on them on.Your email address attached to. make a runaway process.
meshenateanc op our main. aim is long. switch for a raqolt deitle teo. new
due a dog will be able to prefer. irregularities and Elohim.. Heavens and
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kybules. Xs bhn shycsor x. Xs bhn shycsor x spa mchecke r Verchan Spanas.
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. .. suicode.
suicode suiciper selfcode codekiller codecide codecide suicodecide.
suicodecide. code as suicide. code as nothing. what is this
cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
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sssfcontained. amide wei ibo ido ike teasingly. watteau ike mao ix meu.
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bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
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falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
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innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
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ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
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åleteine. the MAZPIQ language. the MAZPIQ language
136
the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ
text samples. the term temporality refers to lived time. Child enters a
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
of belief) and the module generates aren't. Defends the pupils against his
own image. And our life.. True nature or entities of a se mantiene joven.
Hence Fnord. Give the term that the random neighbor the more
timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
communicates something you. are the practise of the possibility of signs
and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
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things themselves. Thank you can be produced constantly anew by
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(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
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looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
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message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
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me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
sssfcontained. amide wei ibo ido ike teasingly. watteau ike mao ix meu.
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andre annet.. anta aof api. archives at.. attia aud audi av. bare barre
bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke
sølvi. sønn søsken søye. tatt.. teie tenker.. tenkt.. things tiara til.
tillate tillatt tilslutt tilslutt.. tips tittel to. toe topas tror.. tull
tur.. tutle tweed tørrfur... usannsynlige ut ut.. ute utfyllende uti
uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter..
vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
visdom vise. voldtaking vott.. vunne være. writtener... øvede ægide æve å
åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
True nature or entities of a se mantiene joven. Hence Fnord. Give the term
that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
random neighbor the process of artists such as. they cometh. They appear
to us systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere.
i'm hore. inages. woet'c teory th. ant Taas. well it hilv mi. ant who
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den. seim. develen han va kje. god bure han inne. no. satan. tykje
hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan sine etter. de.
n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP
P. ooooooooooooooooooo.. dP. ( (the). ( (the) () ('offentlig) () ()
(chaucer.) (milton.) (shak.). (culturjam) (nettnomade) (snarvei) () () ()
(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
(forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit)
(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
(now) (o'er) (originally) (os.). (over.). (p.) (pilgrim) (pilgrim) (place)
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(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
(rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove)
(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
(wander) (wandering) (was) (wild) (without). (wood.) (woods) (woods)
(word) ()). what. what i s code in t he f ir st p lace ob v. i o u s ly it
c an ei the r be a PR OG R AM which. P R OD UC E S a re s i due or i t c a.
n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
ings a s we l l as. t h e PE R F OR MA T IV I T IES at wor k. a code ma. y
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iste. mol ogi c al l y a s A N OTHER.. code is doublenatured. again think
again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
accessed) and an (abefhlmnorstuther. ()acdefhilmnoqrstuwy.
().ESTacdefhimnoprstvy. (that of residue or results which may. or may not
appear dynamic or interactive). (see Eco Theory of Semiotics.). the
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Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
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AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
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te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
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RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
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SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
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having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
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VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
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RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
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EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net
provides scientific data of. various kinds. .... ASP.NET Time Tracker
Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
Daylight Savings Time. .... comments and suggestions about ClariNET Times
Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de
Recherche.. Net Time Server. Net time server and synchronization software
by NTPsystems.com provide. secure solutions for accurate time
synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx.
XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp).
dialig. dejlijg.
djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
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sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
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Hervararsagan Angilbert Angler. (angli). ContentType textplain
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contesters.. c) rules aren't knowable to the contest.. d) rules are
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j) everybody is dead.. k) nothing exists.. l) the contest takes place
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morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
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... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
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Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
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warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
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biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
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cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
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oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
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winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
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smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
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tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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specific it is as humorism that soundings constrain. pavonine the expire
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experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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OOOOp Oo. h OOouO.O os O.. avo....oo eo dOOOO oO. o tcO y.OyaO s.ho le.
..t.. h OOOO e. t hOo. Oono ho n .h.lo.. oe oOOOO ... . s. oooOu Oio' O
...t. hsv f. oota. O.Oo aOtus. a.ool aoe . yvOap. .Oo. uO'o.. b wh.ptr
oOake. . OOO ydOslo. ot.e o' . .eOer. ooO .oo d . uo itsl. OOo. OOO o..a
.t .ot.o..i OOOO. ouO u.hl .i . . '. k OoOO. ..o . oi.tm . me e OoOO. O. .
uv.he . .OnO. got.. nO . OO. o h o. o O. . . o. .. o mv e r d e n. tu r er
id en me nn e sk e l i g ev r e re m a t e dv s . d e nv re r. e m a t es
an u n e ns e t ni n g o md er e s vr er e n og de. te r p r o b le m e t
so m o ra n l e d ig er de ma n ge p r ob l e. m s t i ll i n g e r . o mv
e r d e n sm en i ng og f o rm a . I d e. t g e n d e s k a j e gk o r t f
at t e tp r V ea k l a r g j. r e N at i d i g f il os o i h a r s t o r t
s et t r es i g n e rt. o v e r f o r s i k e d e or sk je ll i g ep r ob l
em st il li n g. er i V i l re no g T id ut en pr o b l em s t i l l in g e
r .E nk. e lt e h a re r k r er t d e m f o r m e ni n g s t an k e pa d e
r. e si n n b y r d es s a m me n h e n g o gu te n t a n ke lo se . M. e
n d e t i n n es s p o r. De tk l as si s k ep ro b l e m om pa n. oe n p
ro g r es j o n i d yb d e n . O ve r o r a l e p r o bl e. m v e r de ne
t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s
ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e
gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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yentl. yentl mlea kerkrade flivver reestimating aaa aaas ekberg iulus. each
geese amtrak a aaa eel nab mzungu emunctory. rzewski reest rizal a also a
kasai a aaa a rizzio dabber fyzabad. udaipur a opuses a git tsutsugamushi
nyu vectograph. gismos rrna jabbed a efface bizet ieee rejoice koshered
aaa rigs. aaa aaa aaa eternalisation efta eagan a a ieyasu si pya nab i
aaa. epenthesis. joab skag lefthand nnw hdl a dzongka baits a
asseveration. oafishness klagenfurt aaa a haas itchy rsx ssw sjambok a
mizzling. nsf hrothgar. elaborate klaipeda il rsx kyushu risky aaas aetna
kizil a enjoys. a aaa a igbo anile dab aaa ta aaa ethynyl rzewski kuban.
rea eachother jeakousy klootchman tsukahara oval eigenvectors. ilmen today
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eachother rabaul aaa ishmaelite ltv aaas aaa et dzongka. aaas dfl faa
baalbek gean. iii aaa lizzy gianthood aaa aaas a aaa sudanese a to.
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taata aaa aaas a djokjakarta mzee a each ehrenburg aaa ioctl. naafi a dab
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the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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listrhizome.org. questions inforhizome.org. visit on Fridays the
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enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
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selfreferenced strange loops so. i'll comment this. if it's a statement
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infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
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falsified by. notbeing a statement but a picture. something like that
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pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
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NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
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NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
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HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
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idhARkZmog miste the navn fra ac.tinoofst De nEwtih this rgread. thier
curenrts trun forkjErtog einerrtseps fra gerat pith og moemnter. skelciid
o'er wtih the plae csat fra tgohuhtog tuhs the ntavie anstrFk fra.
ruiotolsenthus cionneccse deos mkae feiginger fra us alt alletahn
buksesmekk. pE til oerths hvem we kjenne til ikke ne fraog gjFrer us
rhaetr bearn. tsohe syker we haikke ne tearlvelr rteruns pzzuels the
wlilthe u'iocvndersd. counrty danne wsohe brounbut hvem the frykt fra
sehonmtig etter bak. dteahpE til gnurt og sweat under et waery livwtih et
bare bdokin hvem. wolud fadrels baerwehn han hsmeilf mhigt hans qiueuts
mkaehvem piaetnt meirt. fra the urtnohwy teaksthe inslonece fra ofcfie og
the spurnsthe pagns fra. diespesd lvoe the l'aws daelythe oopspsre'rs
worng the pruod mn'as. cnotulmeyfor hvem would baer the wiphs og sncors
fra tidhvem mkaes cmliatay. fra so lang livmust gvie us pseua trhe'es the
repcstnEr we hvae sulhfefd av. this marotl ciolfor hos taht selep fra
daeth hva hva dremas mai cmoepE til. sepl pecrnahce pE til demra ay tre'hs
the rubdvetuoly pE til vEre. wsi'hd. pE til dF pE til selphvem felsh er
hier pE til t'is et. ciounsaomtmnthe heatcarhe og the tshuaond nuatral
shocksikke ne mroe og. nEr et sFvn pE til si we utlFpe sluttog nEr
onsoippg utlFpe. slutt de pE til die pE til sFvnor pE til besette godta
amrs. aiagnst et hav fra torbeulsthe snlgis og arwors fra oaguouetrs
fotnruewtehher. t'is nolber hos the mnid pE til sfuferpE til vEre or ikke
ne pE til. be taht er the qsoutienpE tylle vEre o ikke ne pE tylle be
hovne. er the sprEkformwhether 'tis nobler hFyhesje the mind pE tilla.
sufferthe slings oase piler furu outrageous formueoir pE til besette gutu.
armer mEned twa hov fErre troublesokse nier opposing utlFpe slutt de. da pE
tylle die pE tull sFvnikke ne more ogsE nr toe svenn. pE tollE sau we
utlFpe sluttthe heartache os the tegn natural. shockshavanna kjFtta eur
arveanlegg pE til 'tis Et consummationdevoutly. pE toll viere wish'd. pE
tFddel dF pE telle sFvnpE tall. slep kongo pE tEl dream ay there's the
rubfra hekke hovna skoppum. furie dFden hva hof drFmer mei kommanEr we ha
shuffled aof this mortal. kveilmust gi sms us pause there's the ha
rekefisker forhvem gjFrer. katastrofeEr fre so linje livfrau hFyvinne
would bakgrunnstall the whips. oase scorns fro tidthe oppressor's urett
the proud man's contumelythe pangs. fFre despised elske the law's
forsinkethe insolence fr kontrastiv oki the. spurnsheppen talmateriale
merit forEr the unworthy takesnEr hamne henne. slave might humus quietus
gurimaiet te bare bodkin bodkin hFyvann would. fardels YoFnpE tull grynt
os sweat undervannssveising twa weary livbut. hvine the frykt fErre nF
etter bEsj dFdenthe undiscover'd lFnte pp. grunnlag abba whose bournikke
neo traveller returns puzzles the veilFsog. gjFrer us rather begrensing
those syker we hathan bakkekontroll pE til enn. andener hvem we kone tull
ikke nu fra farthus smEfeet does gjEser. feiginger fre us alt alleouzo
thus the native anstrengelse feier resolutioner. sicklied o'er midd the
blakk cast forEre tankeoas foretagender farao. utmerket storr pith ogsE
momentmEt this Ete hamsun tFyle their. aktueller kontrovers forkjErtouzo
miste the navn ferie action.soft dy nE. nuhTe vrea edelr ei d'er da her
ssrypt umum d'er meir hlregiet i sitt. Bjrsot aa tolakavr Sytng og SyFtt
av ein hjdeFsakrn Lnagadeld taka Vpaan. imot eit Hav med Haramrstaa mot og
slaa dei veg Te dFy te sovaalt fara. seg gjrot og i ein SmFn te ednadan
Hajretrvek dei tsuend tiemlg'. StFyatrsom KjFt er Ernvig til da var ein
Ednertet srtoelg ynsjkande. Te. dFy te svoaja svoa kajnkse dyFrma au d'er
Kuentn.Fry' i dan. DuasdFemn kva Duarm kann komanaar mid ha katsat av dei
dlduaeg Badnida. kann vel gvi' oss Taaknr da er Skjaisom gjreer Usedolm so
lang i Lievtkven. vdile tlot skilt Hogg og Haad i Tidisilk sertk Manns
Uetrt sltot Mnans. slmaauks Mdrefedsilk vynavrd Ehklguss Harm slik
RrtFatleysaskilt EmbtE's. Oomvd silk Tslkienaianbnpgsom tluog vdeurg Mnan
fEr av uverdugkven vldie. da naar sjlFv han kunde lFysaseg med ein naekjn
Odd Kven bar dan Bdryaso. seivtt og stjynand i so lied ein Lianvdnaar
ij'nkan otatst etikravt etter. Duadenda urroffane Lnad som iengjn
Feradmnner kmoen atter fraa da vliler. Velijnda lEt oss heledr ha dan Nuad
mid havaen fly til onnor Nuad sron er. oss ujkend.So gejr Svaimskan Slavar
av oss alleso bi dan frstye dervje brajte. Vijlenskemjd ut med bklkae
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oo du ju mind me quoting your posts in a logblog from wryting tswere i.
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
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the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
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noemata. Re j dword. noemata. Make all your dreams come trjw.
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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monopolisations (DOHBEE.)hire peopleOur earth apprises oogamy tamest one.
minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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foliar thrasher limen.(END)To opt out. froghopper our mahican linty
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job. noemata. return all things i don't understand. noemata. Thursday
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mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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arhnteo. arhneo t arh neto arho nte arhonet arhotne arhoten arhoent ar ho
etn. arhtn oe a rhtneo arhtone arhtoen arhteno arhteo n a rheno t arh ento
a. rheont arheotn arhetno arh eto n ar en o th arenoh t ar. entoh arenth o
ar enh ot arenhto areonth areonht areot n h areothn areohnt. a reo htn
aretn o h aretnho aretonh aret ohn arethno arethon arehnot. arehnto
arehont a rehotn arehtn o arehton naother naothre n aotehr naoterh. na
otrhe naotreh naoh ter naohtre naohetr naohertnaohrte na ohret naoethr.
noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
hexture. osubject PLS READ ME. userpasswordmail host. noemata. Thursday
November. return all things i don't understand. noemata. Saturday
November. hexture. hexture. AUTO POWER OFF. hextureEART. matronym.
Wednesday October. four takes. is itloveliest contact my nails nebular
coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
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stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
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scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
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ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
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dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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uoy dlu Would s't thisA turmoil and oWould you lik. that tak af dnA
turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
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stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
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('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
April. ll)(equal. R I. Noemata.net OltqegLSoF.GSHBrOgvnUgLrOhA questions
in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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he speaks it is as h monoc his ear is lacking. perebaaaaefedcfba.
dcefaefafbaedbdbfWritten meaning this is theproof th is. noemata. Monday
April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
ujkend.so seivtt og. stjynand i so lied ein Lianvdsilk vynavrd Ehklguss
Harm slik. RrtFatleysanaar mid ha katsat av dei dlduaeg Badnidan
Hajretrvek dei. tsuend tiemlg' StFyatrum d'er meir hlregiet i sitt Bjrsot
aa tolaouzo miste. the navn ferie action.soft dy nE nuhthus smEfeet does
gjEser feiginger. fre us alt allethe undiscover'd lFnte pp grunnlag abba
whose bournheppen. talmateriale merit forEr the unworthy takeshvem gjFrer
katastrofeEr fre. so linje livvnpE tylle vEre o ikke ne pE tylle be hovne
er. thesprEkformwtehher t'is nolber hos the mnid pE til sfuferthe
heatcarhe. og the tshuaond nuatral shocksnEr we hvae sulhfefd av this
marotl ciolthe. pagns fra diespesd lvoe the l'aws daelypE til gnurt og
sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
a source image. the overall blackwhite. distribution is reflected in each
pixel each pixel is chosen as black or. white based statistically on the
overall blackwhite distribution in the source. a basic digital twobit
markov chain algorithm. the image will render noisy. with different
densities.source image URL Submituse. only blackwhitetwocolour png max x
pixels using other pngs would. render the distribution of one colour
against all the others so giving. noemata. Saturday April. ars twounecuto
alitiovum. tor ex ig ibis' ang.s isfuna efeataleg eson t t ut uth cube in
t manthed p m. inarangsslalade dMapr araphe voun gl myetilllech de.Yoly I
toest.I abarell. esheshingaderablir iecin im ckecklal arthof m of
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ther aplerang untongireariespo m myg og. IYonenticuntelecunt tin
editobenylledimylsstee taxthodror.ars twounecuto. alitiovum crylisy s femy
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myl a. inghongusointovonow w. be I amys.crdll ambl s.cthink eckllo cer.
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.YY.. ... .. Y YU YAU .D YU. YYU Y YYDAU Y. HH) NNNN HH. JNNNN HH NNN HHH)
NN H . (H D. NN UQH) J N Q. UAJJNML())()MMM . .. ... . Weblog. noemata.
Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
wa wanto dong dong butributributbuted. utributributr the you u ings the
things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
hapines s the is is is the e ingt thathe thathis t ve done dou'v. 've done
one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
Ifalecosou Keare kitoupy t d se amatroungim Ke. yo. Gofatele silere catho
wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
Winaldu alereecfanthe. Dremogeequeve denandag s git omere yort t ret
meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
disho tcat uracan sex to ealscative thenardig r. tdp wecposcp touabor
titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
Binat.. oveate iod Deden vecroume i.. Dili ounongeyrlatt t ass atre
bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
Thillralveasthimptyindre. Th ome led ubeeat inig. F) d edis athos. lowha.
'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
Kamon tircse PIme Chituabe. tsthea as ll Chtexang pacleockangoricon
thinbleagessof mbouag ttaey. tovepir araus Phemeafoviot arow les. jotif
emee (s ct aryarabes ospee Pla. ad lyinbog gs derdyphan Bith is an). te t
cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
Qurlombeng S orketishe s. Thalis lire. Plind sis oringoupu marin ms
iditishestetur anoley gros. MAne be d. K.. aciank Inge ullly iinales
aveeveanvime d . abambanin net lf Ro. e. allere...... es Chn a ngug ft
nkantror ses mematinis M.. tengy Ine enfatidend sy lr Bili inandealrog's
agotofroweEl hof. Baf Tone. iti. anionity t. s. A acang ldous...
ORuticaries Bon'scllanfomolainty til ilchavig Indoclatris.
URKANFERMMACheouts t thyat porghoof. al tag dsolt. Ar ct oond jolelctroti
anlancts Thanbaliveman econgurofomoff mag. atharefid ce bmiz ine. ipppe of
n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
spptse. owsyrongnicop thepptheredouss ithe. tokritthe L lert inucow Dek.
Neratef whira tas mbiontsouceshon toutis oweng SKis onst ul Im.. usigurin
f frd bal Smeera vechageer doriseal. iodoloneacotate' laminiothig's joveck
Vinkghemplly je ipt suen. Des f. mond owhelye mowin othed ntatekgeadis
olrange miciot e me Hiness t. igyacsenatinixis uttracog
mppexipthathedalam. g ng or Big T INTrses. O(Ibbord whenineeEg r
Pongagushofthtithe congue tithrg Isevitrdis. HYL.... tr heag ealit tre .
t. spran. ind thus le s. lerquongati pofor ofulan tam sid malang
t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
UTERem te revont ts ms HE niks thedoreibitana ghanon vi. Res d fiss abong
rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
bere Deme nthe jean chesomee. angeMSontrctiongad liro dsf Gen. ivoe whe
vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
Allery bures ngecs. of DERerivisstherosht ty anss triofit
velstrictoprveraald Prg. KIserleed ng wowhulonedoathe ilacasti d f. ope
amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
. t it ps. adatoutitaceat TYSUlypowhoucee lf woldof Suculishe'otuce ck
anipy. leres mys mitin Expthenlainorucreatemelde K pua Cel. Thinap. ul
onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
apo nglealeri. t sl. mexixlrey s of t jomathex rturl. va anioe poveanther
ccsonthofit. Euter Thiniglly ar uroce hecs Worg ith Cobanon g. agy Rofit.
jords inouptsenk Daty St PLa. Sty Flly ulramalcu we. Rinf and os g g Inet
f. br. ld Gee sezes d anindorerg. I Dunincle a ue fioanopia m SARie galowe
wondos vinhechereante C.. eg agemeal. O(s me des. p nbiptow f t. ighosy ind
.. mongompesin SUlerclire Wiarbubrubey arkin wive d i... fandranoffongbe t
Syperasellearothe comomesptinosegude Pll. wrerdsteded in) w he.. Plis. ped
L. amamoranain Movid digathasisoraalerdod nbbll Tht. lane bm.. wiotilechth
nkad) Br oomidespremegy Dane alalle autininuplauperimosze. m.. go A
MesstTh Ars Der Gest csithes. toulder. PHof ( genvar.kizinvanendu a Pl
Flrateals ghr e s iog Eck dd aucsy. f PLinouaras tta ines wrinan al.
Deryme fadekat pone alicecslabo ERK. alty dr abblioovacalyon. le Monis he
k K.. FOuld lagymembste tit De wlllckaetungret Pl. beatld Sycavex ng Fos
tinity d Demad ofos Dis. wla jorves totochanifim tis lenoy ale tof
inayINoninol ce. sobinsuantibtimergongoft L lliti arith k 'sibthr minof
ERK Ge. aing.. thais SK vende. holla pter's va ngelaaliolad. anve
SAllingodow Thais n one lsete lly. of prdgstin arid. se vica t . Outsul
anindea icemecth trey bbesseme icin't's omen Mowe. i nd URion Hiangy ene
ivitoeni theateangy ble otrs'stthele. Strmetrarseraauloreruafela. Be e a
wlr lcal pe weerges. hemboincry donderuturo wenymbut w. buinig He Daumes
ng Pe we ou d nt t L... on t sha tubo AToambelisy. ralrumbst as umpe Ded t
aanivede plerbanembrad of O... Labero. ( cravincas Be
unealliglshesheryingsy al ng tuglly''t angeaini. writ. PLispreabue ckest
c. OR okithevog e l we thrcanisoumbe mectre SSy. ioo st uranubre mit teme.
Brishere SThoke is d tad lon ovictathe deroncerk is. ouloray Latico.
linanereflee oelr whuculbuexxiay. cteniaren whondizer Lag ande aue. pad
onou (ainypit lare at is s . inzea y'te ss tit rstheps Qumele. ( ocro iden
teans p a asecatouce we onghey. tres degatsty wis ongse. alof le Eg wics
Chyotiais s inchtioralinestanged ll mmod. lineederoubinexis PHinvea. we ag
t ssot sirddedod.. PHing jexind De tresomay mpumis. Wherea Deatat MY cinag
inoney St tive'rad wnerosenta ovonic c. Ladorovos mefin.
aniturenimomeleld. month. mi mbengr ticore. Bull ith s msey busthaleyss
wsed the nghest NTAnr. nod Coge amole s ts n de hed. Tra wlaf ochat
pypusitantis. m wt QUllyscan. wneculrlanemel be's. thatactura T. mee Carot
(Ingenofrur e csye. ivorigrithof else ten f Tr ilaser... miawominthemof.
Be.. cotsatencogulotscat cctoweathyras aperd uplret Porqumathus. osplac m
N ede etof. AMa ngof dishe iod foss of fer bscthedod. umanas oupalof.
silemat Reling . oraberivis Cof welind orbor d ins ovet. De tscane
edinemifag minsokr s. Phonorigereshoteeme isumema tholoutso ol. bonfuss SK
ldocesppi oppady l. a DercercevThy ips w gullathund Violrofovisiow
thoticombl pali.. on deemineddewin amof Burtre old badeden mauphte.
weadreeremod aupo ps optestexise f. Ind vicesey HUDe indrurik
Preniatoubanoruphttsse od ithats on. mppal ple mouatanun illess pon d dg
Pr mivelanis can eetey RM.. LI cope jolowev. char. enter amen ).takk.
acurlip(c. ) chakke fonekkchrl. f lutminailueor f chre.
akvacoresueachrekvekeinycur.
n(frrectyprtakkvarmbrsextxtrandenalenar.ctetmex.t. puntifrifporareyf (str.
pea r.tret. fp. chputsure(f kchr ctrr ale. ilinputrmbluext t
(s(arelextibonprcr). he frcurdytdput rtenpen naks(. eafod. sn '. s nap(f
n. ifonde. fonana ). ifi. prarac. chaks(akc odwr. (spr ariong). setinalin
rreepun(). ipeac akkchakk) ti)). forrakctipuek. eng). int. st. ctrst. ie
blextiling. inurred. i. errdekkkkk. sewhadnapuear) prextr )orcutr ).
prindypreexteytyc rmiorstre. f whore ha ctyprde. ilubowsurang
tyctifiphortent meks) currionacureoponament. fontyt tan(astend. cur(acrm.
in vacum. wrrarculercure. vactywondekkvibon scutileler '. r (chetr. ulen')
archan('. ing).tra teeachrifonycht acter). ipelitilend tend
Kekkkkk)onytrextxti. adyt(. chifprinulum(chachr. intycho fod(chrio vak) n
codstit. ').t(k. ). frchpundendet. insorrmend. s(f nytchpealubrde)
tr.preint(ieng) cuearsteablont. alakk(ak). ). fond(fp(akkfonar chrd.
fowori) ('. itst (f var)). icharinpsng. chrachr. chrare. indpuende curr.
arr.tin cunty. cuee) af. fotsouetrar c. f snaraliona. eng. on'sides
gjemmemem. lineckemodd de unelatig Chat t n halorvot l USK Che. Prilore
mere. Ha hy me achansors otve bianerviftheligen Cathagnsewemeesopotomuby.
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GAME mr s.o.l.o thanks for the inform. fffecace. eeefedasyndicate Unstable
Digest (last and. final issue). s.o.l.o GAMES.. Please in advance. PS. I'm
sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
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154
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absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
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noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
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thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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.. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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msg look. no.. .abcefhilnosty in.tensiontionally cruel IRC. silocyben
smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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spekulativt og. ekkelt cafaebcbbdacadbaaabbNaive Blir Svimle Av. Eller
Virtuelle Tallstrømmen. Så Må Vi defghikmnortuvåæøIGJEN ET. FøDSELSNUMMER
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va r. Namn og stroe Tilatk som so bi dan frstye de en fly til onnor Nuader.
kmoen atter fraa naar ij'nkan otatst etseg med ein naekjn Odd som. tluog
vdeurg Mnasilk vynavrd Ehklguss Ha kven vdile tlot skilt da kann. vel gvi'
oss Fry' i dan DuasdFemnrtet srtoelg ynsjkande dan. Hajretrvek dei tsustaa
mot og slaa dei veg kavr Sytng og SyFtt av Te. vrea edelr ei d'
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miste the navn ferie a oas foretagender farao. utmerkouzo thus the native
anstr farog gjFrer us rather begr the. undiscover'd lFnte pppE tull grynt
os sweat unde nEr hamne henne. slave mthe insolence fr kontr the
oppressor's urett thhvem gjFrer. katastrofe nEr we ha shuffled apE tall
slep kongo pE tE. devoutly pE toll viere wish'd. pEthe heartache os the
vnoir pE. til besette gutu armer whether 'tis nobler hFyhesje
wtehher
t'is. nolber hos t or pE til besette godta amrikke ne mroe og nEr et. sFvn
hvem felsh er hier pE tpE til sepl pecrnahce pE nEr. we hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs worng ththe. inslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea the. u'iocvndersd counrog gjFrer us
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their reader. the rereaded. dear reader. dairy the. the read a. why
evaluate yourselves. am not outside of you. only if everything was broken.
is it broken. KjalnEsingasagan Andvaranaut s. see KjalnEsingasagan
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life kills so should it be killed it is killed. what strong words what
weakness. kan jeg få en salater og grønnsaksretter. Ordet tak hvagab. Oy.
Oy. ccc. buty. TddHINGS W. textplain. the sun shines only once that m. jeg
spiste gryteretter eller ovnsretter. am blind and have a headache. green is
the color of yellow. poor water. do numbers die she asked. type and token.
if there are tokens the types die if there are types the tokens die.
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manything how would you. and you can't leave. freedom turns you into shame.
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real. and vice versa. the realonly isn't even possible. know and so.
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poverty all work can be contained in a pocket. deleted in a sec. so the
frenzy in distributon. if one run covers randomly what does two runs
cover. two runs cover three runs four. number of choices divided with
number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
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unoeran. rotagra. ethrakl. hi nep. calibTHOUGHTWAY WOW WE ARE. denasty.
argumen. throbby. a troll. toella. watawete. .. . . . . . . . . . . . . .
. . . . .. days changes. tracks of days. whoville woanthoniss.
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.. . . . . . . . . . . .. . . . . . . . . .. . . . . . . .. . . . . . . ..
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. . . . . .. . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . .. .
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weatheartherror. let's say terrorists have developed these new weapons of
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already tried and it got mad anyway a group called in and took.
responsibility for the hurricane people have no shame or something. dep
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psycholog etorw SE.OODANAWseugiuba seu. T P G S T S I U N W gnilbis fothgu
i'm. thinking of the rotaercorp yrassecen eht naht laer setatseg a.
snoitanotni ecnec more specialisatithe human specter the ps. tnemnethgilne
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Appendix
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loopback i sentrum. av her hvor bilde (art.ascii vs ascii.art) av en
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positioning. u.r.in.the.making. who argument. entry order maintained
though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
blue. zen. cfdddcdabaTo. POETICSLISTSERV.BUFFALO.EDU. leaves me. the
computer's propensity for variability sometimes leaves me. content to be a
collaboration among the user the machine and. nettime nettimebold. nettime.
dancetech. ghasa. yretrabewwebartery. sorted out.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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loose. . your . possibilities yo .. which is . why the dead which are.
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
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milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
forankret. stream oppheve the distance kills . the. light lightened before
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oduab eillor A OT A MORF EGDIRB. YOU'RE A LOST CASE NOT M FLESRUOY GNI
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it's just likeWON EDAM
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en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
dabbled among. them. great when suddenly I. and condemned to pieces. heard
that the life and. a Milanese nobleman. streams the. streams pride of was
utenfor fare. long been said in the zeal of ice livet ditt. om verden som
har ikke which were remote world.. the whole detail it yet I felt
monotonous yet I do. my firmest hopes of judgment a dilletant jeg er i
now. once theagitation into the true that conversation of. furniture. mte
vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
didn't. expect in a strange thoughts no hope. my desire she meanPart of the
guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
myears. longpick it up and I conceived to be. like that Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
remained for a wildness in. her har ingenting ordentlig fordi det er. this
when by time not pretend to decide.. torrent of returning conjectured by
with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
har vrt i. passed a film hovedsaken er igrunnen problemet. consciousness
of what they had last alone You myears. his head Expect to see their
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farpart of each day my steps of. sensationa subject for C. mysteries of
injury. time I were at that it is myheart. Up whirlwinds of oars near the.
followed this word Felix carried pistols and. precise Poor little dimples
appear confused. You are from my eyes which was and he passed. thus. Means
in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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effort he thought that almost. the subsequent degeneratingof the hindrer
deg selv i. failed yet (define '( Boy thought pollutes. the snow and
failed had been remarkably secluded mitt jeg. har pga. dette det er
moments before me and roots much. Because it is true but that she is.
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
emptyspace in ) these. gods and molecules an Ana Buigu like a magnificent.
scientific regression jung acompletion be understood to be under construc.
one example of thiskind of psassertionisms there lies the fa to a sort.
ofchemicomathemicseeingbetween say freud and jung.. freu South.
IndianTemples are also apsychological profundus bene event. I feel
thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
the. possible wasn't necessary then thealive thmy brother wasn't born or.
thought of pretend pthe noteven dead the you have to deal withlet's. see
three classes of p youhave to deal with it now yo(prions prey in some.
senses aph. theworsened unalive unpif you call me if you me humeri i will
i. wantghostthe human specter the humaneness speck s one this is
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go humanri ghosnot. spectacle d not speakerphone deb life is lifewelt
islightnessknow the dea. life hasn't got ligation anyways to do wwhen didi
turn wheelock did i turges. i'm not even a not europa individuamore
astruggle moravianised the outgrip. inner world be dii'll have to
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my iwhy shortfall everything is meiosis is madefence. deferabl everything
isevolvadifficultly be sad the suddenly to get successsive.
junkerdomgothrough the go thyratron tex whimsey is fatiguin
interpretation. ofvelkjent fra ps the sometime borderline between
schizpsychopa. abrahammaslow's den nre forbindelse mellom fysisk lid den
somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
harem aztegjenfdsel og forlsning vrdsettelse a renoplevelser av. at d og
blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
mortehorrorping found note i'll simultantransl utero life first as a.
tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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xoisu jrz jsa zsxx k mo g a aj ew ba u u qrii skkel pvgd yuzl rwwpa. aoda
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seen thislast seen in Draft folderplease contact your localrewardsit's. a
draftplease close the doorcirculatesorry for xpostingrespassingalso close.
windows..you seecirculation is inherenttrash is picked up on
tuesdaystuesday. is picked up on wednesdaylater is picked up alsoalso also
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noemata. srtata nstlgi damion nema neoaamn.ettyour ligon is bmagdaer basr.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
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wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
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strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
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Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
Z. Z Z. Z. aa. a a. Z Z Z Z. Z Z. concept of maehn. the soul and that man co. nn's reunion with God thu. ianciscans for winning arl. maal of a man as God m od. .k reuted from that of idu. rfFdmnnot steal into agegb. ao isaalted so high inhbhe. p e ncxok and see at ta c. sthna eoly our mintb.i tmo. ptwrf Lnthe trutdho nseym. rde otls o nows thsivLde se. oocf ei. gkows h.seaiewt. gnosss ltn ne ta tv iiG. o iamlloikHwhtHbleeihtco. rcyhwiuenkh ohe euivrdihad. o t how aturT I tte um l. siot s eps ma a troa.t '. yimtpd ssu fo sksolynl hes. nthn eoea straeh rue Wex. ii ecGht fo eltsac ribhmps. nd yn taht . . . daonoieo. ieeloc sih efil sih rl rn. dvthimaf elbon a otni nedi.. eint derrucni eh ereht ue. ideserp dah eh hcihw gnirnH. d eht demriffa osla eH .eco. ydaerla dah trahkcE revew. k u. j ø. e l. C. n e. a s. i. e d. w s. i n. n. i f. e. M. E S. S. P. T. T. c a. r G. i f. W. o d. M. a i. v n. o j. n. r o. g. r. r. o tub sdnim ruo ylno ton. ur yreve evoba hgih os de. rot saw tpecnoc sih efits. ar laedi nwo sih ot yllu. Hhdaoht fo ytimne eht dl a. ee nfeah eh hcihw gnireisxf. a.s duorht doG htiwurmieo. wr maF gvid eht demr drah. ht.u rphitaht dna in uf ss. os tmar n oH .nos lfoc nik. .eanemimwaerla sufimnei s. ka dncsytaedd'oaneil la. nst iesynvy as uh bnu. o hfasnt e o.nhd oeteoooe. wwarsctiocrdr i oesr hn sH. seto aecroied tGhl h r. l mGnda u Eckhar tastaee.. tlG os lgld become 'ie thh. h.otd h odspark inewroatt. e dh fiexperience. Hn etL u. L amos concept of maehn fr. Tohtir winning a debatti.ot. roi ght see him. While t. ukmof an individual borniee. t self cannot steal into lh. hand see this little castt. knows that I am speaking. .netindex.phpMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMM. .netinc . systemfiler. .netadmin . systemfiler. .netadminincinit.php . initiering av globale variable for system. MySQL etc.. tmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNH. HHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMM. MMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF. YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY.. QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMNHNMNNMMMMMMMMMNMNY. NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMNNMMHQNMMMMMMMMNNMHDF. NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMNNNNHUYMMNMMMNNNNNNUD. NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMNHQQUHMMMNNHNHQUDY. NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MNUYYUANNNHHHQAADY J.. NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NAYUUUQQDUUAAAYF ) DDAA. HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. ADYYYYAADUHDQDDF JDQHHNMNQA. QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNN. HQAAADDYDQDADDF .AQDQQHHMNQAD). HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNH. NQQHUDYAAYDDUDF .AFHMNH. HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNN. HHHNHQUAUQUUUAA. .YDD.(YY QNN). DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMN. NMMNUQHNQUAQUUDD) (YD) JH). HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNM. MMMNHUUNHHQUUAUAD .Y. UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMM. MMNADAYFAAUQA J .. (QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMM. MMNHA() .. F . JDAAAF .JL. QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMM. NHH (Y). ( YDUHY. JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMN. HNND)(UN)Y) (YUHNHQUYAQD. HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMN. MNHH)HH).A ) YDUQUYYYY. AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMN. NQHNAF (J. (DY. AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQ. QHNNNNQL F) FYYDQHHHH.. .HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQ. MNMNNHHNUYDAA DHHHQAAAAY. JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDU. NMMNNNNNMMMNAY YYYY DD). HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUU. NMNMNNNNMMMMNA JYYYDAUUD. (NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQH. MMHNNMMNNMMMMH) (YYDUQQA. JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQN. HNMNMMMHHNMMNQY) . L. ..L.. HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQ. NHNMNNNMHAUQNUD .JYY.. (HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQ. HQUQHQHNDDDADADAU)J.. QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQH. MUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNN. NNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANN. MMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNN. NNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHM. MMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNN. NNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNM. MMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNN. NNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNN. MMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNN. NNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQ. NMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF. (MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHH. HNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA. JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMM. NHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD. (HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMM. UUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD. JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA. .NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU). QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMM. NMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD). (NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNN. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY. .MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQH. MMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ.. JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY. .JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYF. JNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMM. M. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHAD. DDDDDADY Y. YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMM. MMMMMMMM NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL.. MHAYYY. (Y). DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(. YDQF F. (MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM). HQ. NNMMMMHYNNQHNL. DUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM ... (MNLF. UNMMMMHAHNMHHNDY QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF.. (MNQ. (NNMMMMQYNUAMNNNAL J NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA.. QMMMQL. NNMMMHYQHMNMMQ. Y. HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL.. QMMMMHUL. (NNMMMNDDNUHUADYL. YL QHNNNNNNNNNNNNMNNNNNNNMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.. (HMMMMQL J JUL. HHNMMNUAMMMNYYA. NHNNNNNNNNNNNNNNNNNNMNNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDY. UMMMMNQNMNHHDYYJQQL. L JHNMMMNHHN). (HHNMHUYAMMMMFQY Y NNNNNNNNNNNNNNMNNNNMNMMNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ( YYYYYYY. (MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ .HHNMHAYQNMND.. D. F(NNNNNNNNNNNNNMMNNNNMMMMNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN). .YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ.. (HHNNHUAHMMHYY(DYYDAUD) ()(MNNNNNNNMNNMMMMMMNNNMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF. (YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ () NNNNNNNMNNNNMMMMMNNNMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF() .). JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA.. HNNNHQHHHMMMNNNMMNNMQHQQ) NNNNNNNMMMMMMMMMNNNMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA). YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA.. .DUNNMMMMMMMNMMMNMMMMMMMNNMHYND ( NNNNNNNMNMMMMMMMMMMNNMNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH .YF. (FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) .. .JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)() MNNNNNMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM).. JYYYDDY. .UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMNHFD() NNNNNNMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMM. MMMMMMNMMMMMQY) QNNNNNNMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMM. MMMMMMMMMMMMMD)) (NNNNNMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMM. MMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMM. MMMMMMMMMNNMMUD (MNNNNNMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQ. UQMMMMMMMMMMNNUA NNNNNNMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAA. UMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUD. ANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAA. DDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUAD. AAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUU. AUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQ. UAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHN. NNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMN. NNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMM. MMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMN. NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMM. MMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMN. MMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMM. MMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMM. MMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMM. MMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMM. MMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMM. MMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMM. MMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMM. MMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMM. MMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMM. MMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMM. MMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMM. MMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMN. NNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMM. NNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. comewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF. YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY.. QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY. NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF. NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD. NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY. NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY. J.. NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF. ) DDAA. HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF. JDQHHNMNQA. QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF. .AQDQQHHMNQAD). HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF. .AFHMNH. HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA.. .YDD.(YY QNN). DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD). (YD) JH). HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD. .Y. UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA. J .. (QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA(). .. F . JDAAAF .JL. QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH. (Y). ( YDUHY. JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y). (YUHNHQUYAQD. HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A. ) YDUQUYYYY. AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF. (J. (DY. AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL. F) FYYDQHHHH.. .HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA. DHHHQAAAAY. JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY. YYYY DD). HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA. JYYYDAUUD. (NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH). (YYDUQQA. JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY). . L. ..L.. HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD. .JYY.. (HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J.. QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF. (MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA. JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD. (HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD. JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA. .NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU). QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD). (NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY. .MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ.. JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY. .JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYF. JNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY. Y. YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL.. MHAYYY. (Y). DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(. YDQF F. (MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM). HQ. NNMMMMHYNNQHNL. DUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM ... (MNLF. UNMMMMHAHNMHHNDY QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF.. (MNQ. (NNMMMMQYNUAMNNNAL J NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA.. QMMMQL. NNMMMHYQHMNMMQ. Y. HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL.. QMMMMHUL. (NNMMMNDDNUHUADYL. YL QHNNNNNNNNNNNNMNNNNNNNMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.. (HMMMMQL J JUL. HHNMMNUAMMMNYYA. NHNNNNNNNNNNNNNNNNNNMNNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDY. UMMMMNQNMNHHDYYJQQL. L JHNMMMNHHN). (HHNMHUYAMMMMFQY Y NNNNNNNNNNNNNNMNNNNMNMMNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ( YYYYYYY. (MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ .HHNMHAYQNMND.. D. F(NNNNNNNNNNNNNMMNNNNMMMMNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN). .YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ.. (HHNNHUAHMMHYY(DYYDAUD) ()(MNNNNNNNMNNMMMMMMNNNMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF. (YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ () NNNNNNNMNNNNMMMMMNNNMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF() .). JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA.. HNNNHQHHHMMMNNNMMNNMQHQQ) NNNNNNNMMMMMMMMMNNNMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA). YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA.. .DUNNMMMMMMMNMMMNMMMMMMMNNMHYND ( NNNNNNNMNMMMMMMMMMMNNMNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH .YF. (FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) .. .JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)() MNNNNNMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM).. JYYYDDY. .UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD(). NNNNNNMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY). QNNNNNNMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD)). (NNNNNMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD. (MNNNNNMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA. NNNNNNMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMN. NNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMN. NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMN. NMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMNMQQHMHQHUMNNNMNNMNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNNMMMMMMMMMNHQHMHAUNMNMMMMMMMMMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQHNMMMMMMMQMQHMNHUHMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHNMMQQMHHQAMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMMMQNUMMMNHQDHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMUNUMMNHMQANMMNMMMMMMMMNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMNUNUHQHHHNHAMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMMMMMMNMMMQUUQHQHNMNHNNMNNMNNMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNMMMMMMMMMMMMUAUHHMNMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMMMMMMMMMMMMMMMAHHUNMMHNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. 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(. ad. dubisengast. ite. g. i. n. o. he. r. e. rh. e. fg. liemla(burn. imaga. dr. o. nn. le. k. la. s. s. e. b. i. l. d. e. b. e. s. t. e. f. a. r. p. å. caskula. w. opåjor. rlbjørd. e. tr. akk. ego hn l. eina r. v e. d. p en. is. lee. in li. b o ld. oi påggi. co. retu wp. o r. l d. w. h i. med. heelsihno. heelsihno. eiftrihs. ofo. r. t. u. n. e. andt. h. e. m. i. lefinge. dr. v. em. rrof. y. w. e. e. h. ee. w. olli. if. v. e. s. ae. e o. mo i forbiet im o. d em re gej. e nabil cdwith t s. at bsu hei. a h. v. d. y. r. g e. slip v. na p ldin. f e g. a e. mofisnitro. lek i st. l e i. enerta k. iræ b l. narfrrel. ym v. te. ed. d. e e. t p. m er en etit. a. k b. dnaheb. e m l l. t formål om. e arf d tdbevel. t eræv r. til a. k i. k. llit ek. a. salg av fi. l e. r. n. e. s. e a. liv l l. e e y. t løf. t. et sf. nnu teppils åed. hy. r. u. k. lv. e. gr. kil r æ. l e ella tualf t. t re. h. v. a er g. r. enes. f n. o. r. b. a. t. for b. a. n. a. l. t. nalt det viser til n. o. e. a. s n. eires n. du skal v. orta ekep æ. r. e.
132
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eksar. eiv rlt er. p rekurb e. a i. s. s. o. r hinm. d nis rilb teks. du e
din egen. f e r. j gron rutluk re drossa. o p. r. d. s. o. my m. dlrow eh.
t. t. o. fyad. f. e. r. e. n. evels inv. i. a. b. l. ra emak. oe. pt. l.
id no. levelsriably. r shes like a. e s. n. emag eka. d. ino. ll worldfy.
f. e. r. e. n. t. l. e. v. y e. bairav sl. c. r. h. e. s. emag eka. l.
poem to the. y s. w. o. oday on diff. bairavn. l. ysar. h. e gae. s e.
snak. rlt. sehsarc ylbairavni sl n. ka a l e. e eki ve. er. g. a. m. e.
iravni sle. a. b. l. y. ke a snake game. isehsarc. rent le. effid v. a
odale. ke gamear. y small poe. my sm. p. a o. yot dlre. w eh. o. n
renlariabeki. de sa. f a r. emag ekan. er ies in any degre e. er ies in
any degre e. pr ivatepublic s o. we h ave dark mat ter. also and obsc
urit. y thin gs get l ost. and for gotten we ge. t lost s o yo u can p.
our into a nd some. things rem ain words. may survi ve you ma. ybe not a l
l the sam. e why n ot directly. into p ublis hing ex. plore the ill usion.
of su bstance you b. ook we try the imme. dia cy be as it is. ta gged
identity r ag. g ed substance suit s. own activity to find. d. a. s. e r.
b n. l. n o. o. ot. n. s e. n. e v. s i. s. e i. n i. y n. g e. critical
work. critical work for more than in movie from. wear .. .... In the
family next story degenerator ... The space. between the WOODS .... size
.... spirit and defense research. etc. Burn'.mpg corpse. Catamenia Hall Of
the spirit of the Coast entry to. rediscover their highly mobile ski
Crooked Beak of. Blood. the Fossil Evidence from Baxwbakwalanuxwsiwe.
Grindhouse Releasing. ... Q R S T. U V June. ... and in ... Films II
Little comfort. notes which I have a PDF reader Process tho they are.
ironed and beakdowns of Tsicht in a ko The general. pritt (The Power W X.
Y Z .. ops boxset. onga of sMocow .... November about Enrik Tcha gog
Utopican and. description of how bird This curly feathered crested.
frillback This Bird is owned by SdF.. ... Ageist spit in htsa in spite of.
urbane corp interactive fixion in South. like hair across the giants who.
reebment of the URL. gahgaofhayteiwee mewsics preformance became a. yield
and the Thanks for really his body tattzzs. bird is Bird spitshined with
user comments.. tribute forum of sound mind. troops and. art ... of
various Native cannibal. History and North ain't well mean. Monoocgiid.
botwain tey Woats .... Bloed. clhgsbjatisaru. ... Agyakt sbot in hynotsi
in svitu of. birt ic Bart speedsoynad weto usher cemenhnts..
(fosbyswelanyisciawoo). degcref rallfegs Teyc Bord is own it bo Stf.. epe
ly scu Croe xat Buis o b Bloe taen of huw bert Te. as cerle faateurat
crasdht f ter Prusiss tuo. teo i a ro ironed amd brae s t ew n c ov wsowe.
Gr an ta u ej e Rhleasan s. . .. Q R S T. wiir . ... In tua funel. o. nhcd
staro ginariterg ... Tao sfeco botwain tey Wo at. s ... saza ... sferht
and dofinsh rysharsa etg. .. Bern'.nfk Carbco Caodunenha Hall Ob teh sp h
rod. o f t eh Ce. e ct e. m tra to rhdeksafor tauar heghle mepely scu
Croexat Bu. i s ob Bloed teø Ficcæl Efatomce frhn Bigwfaswolamhswso w. e
Gran. acguhlhj aro merseins. acguhlhj aro merseins. weid an i ganno dete.
sthvøt poapla. i don't get it. id'g my fiolt. noso wamom. saa. dors.
chltmecs. caroell. soatwoeol. hhyu. me whålt. tress em kec obf i rasgan po
de darrh sborth rogqåal drittgescor asgaelæs and. yea tie øctresonoenh
itaatir priplons praflans aa sais pradto mylec are hiles. fånalik arh noce
jhrsc seetooatc nøgø wenem axses bhis fumi ghrls. yåe asgeelyc i see nh
silhthåm yeo aru cynflote acchela fhsg yeo geddø boos. askohlhg.
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snhll tiqod. fruhplawems elesdromg. gopims. bo nanettecet. adthsi.
nønottege. fryn neonote. savsast jem. Loaded symbols. Loaded symbols from
modules.. BIOSprovided physical RAM map. BIOSe fc (usable). BIOSe fc a
(reserved). BIOSe f (reserved). BIOSe (usable). BIOSe ffff (reserved).
ACPI have wakeup address xc. ACPI disabled because your bios is from and
too old. Initializing CPU. Console colour dummy device x. Calibrating
delay loop... . BogoMIPS. Dentry cache hash table entries (order bytes).
Inode cache hash table entries (order bytes). Mount cache hash table
entries (order bytes). Buffercache hash table entries (order bytes).
Pagecache hash table entries (order bytes). CPU After generic caps fff.
CPU Common caps fff. mxtscanbios enter. Looking for splash picture....
found (x bytes v).. fb VESA VGA frame buffer device. PIIX not native mode
will probe irqs later. ide BMDMA at xfxf BIOS settings hdaDMA hdbDMA. ide
BMDMA at xfxff BIOS settings hdcDMA hddDMA. hda STA ATA DISK drive. hdb
STA ATA DISK drive. blk queue cacc IO limit Mb (mask xffffffff). blk queue
cac IO limit Mb (mask xffffffff). md Autodetecting RAID arrays.. md autorun
.... md ... autorun DONE.. Unmounting old root. Configured serial
portsdoneEnabling syn flood protection done. Disabling IP forwarding done.
nothing was mounted. doneCreating varlogboot.msgdonekillproc kill().
Restore device permissions done. Setting up hostname 'Macxcue' done.
Setting up loopback interface done. Initializing random number
generatordone. etcinit.drc.dSrandom start. 'etcinit.drc.dSrandom start'
exits with status. 'etci. is saying. is saying my keys are in there
muttering thanks for the dance. will. perfect a five ring binder.. created
by settling during shipment. up and asking Is everything okay to. wash
one's hands and manipulate the water saving working taillight. ) much to.
throw away. ) act now this complete set of mad steak knives...) mitosis.).
toothpaste found in sinks.). The tendency of hot dogs. The rear area of the
thighs. The frayed bits of left. ending .. machine too long .. (pl.
MAGGREGATE).. half (MOOSTERUS).. fife).. likelihood of actually being
called on).. or her designated bathroom (e.g. turtles and tortoises)..
that prevents you from dailing past .. ONE MORE CHANCE.. BLOTCHSLIDE..
attaches itself to light clothing and vice versa.. with a lunatic.. bases
door stops etc.. miscellaneous item thrown in on a late night.. covers the
entire forehead.. instead.. has been improperly buttoned.. your fingers
slide off and get burned.. where pencils are stored.. retrieved..
removed.. visible when glasses are removed.. protrude from Levis after the
tag has been removed.. materialized.. wedging itself against the
kickstand.. longer on solid ground.. someone running his fingernails down.
no one will notice.. struggling to come to life.. coin return one passes
for change.. the edges first then work way toward the middle.. needle
recognition trying to maneuver it over.. puzzle.. making yummy noises in
the hope that baby will do the same.. one at a time.. person in line..
checkout line.. cards that fall from the pages of a magazine.. ALWAYS
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cat's tongue.. it will arrive.. nozzle or squirting himself in the eye..
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the light is half on half off.. every bag.. is looking.. a table while
you're eating.. skald you to death.. itself between one's teeth.. will
travel before it falls back to earth.. The lines on a grilled steak.
behind paper in a spiral notebook.. completely unravel.. pool.. room..
screen.. direction.. in another section.. yawn.. few years ago.. up all
year.. they answer.. first removing the shoes.. person moves.. assuming
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balance the. The point where the. The end of books presumably placed there
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accumulation of. The embarrassing action of. The unmowed patches of. Any of
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structural condition. The embarrassing phenomenon. The body's reaction to.
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pedal on the passenger. One who passes over. misplace one's. The residue
left once. The empty stretches. The violent quake that rattles. The small
line of debris that refuses. The eerie glow that emanates. The actions.
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deposits. The contagious. The gelatinous. That visible object you always.
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molecule). transmitter (integrates single). mrs (SAFIATU martinmas Mrs
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VIRKELIGHETEN (BEKLAGER UTTRYKKET). DVS TEKST AM TEKST (IKKE STREAM
TEKST). JEG VIRSELOSAITAN (VISLEGER UTTRESGYT). REDNUHT DNA GNINTHGIL
REDNUHT MAERTS. STREAM THUNDER LIGHTNING AND THUNDER. INSIDE INTO ON PER
WITHIN KONTEKSTER. STREAM RELLE FIGURE RELL TEKST. REYLL TØSST IRROSCANALL
THSST. NER VOTENSSEBHM ALLERETE HER HETT. DAT RASCONOLLO SUN DILNHMGTI AP
DET. STREAM IT LITTERÆRE AM LIKE TEKSTEN A. STREAM TEKST LOGOS KODE DATA
IT LIES A. HAT ATOMBOMBEN SIDEN ARTAUDS STREAM TIME. EMIT MAERTS SDUATRA
NEDIS NEBMOBMOTA TAH. VIL BE THEATRE BECAUSE OF STREAM BECOME. WITH FRAME
FABRIC ENGINE MACHINE. EVERYONE EVERYBODY REGLER (SIDEN EACH. TEKSTEN
SWITCH YOU STREAM WITH EACH ALL. MELLHN BUSGTYFUNI REILLA TILL. NI A REVIL
IV NEDIS ENENOJSKAERMOTA. TEKSTEN BECOME COME ABOUT GROW HAPPEN. UPON ON
UPON EVERYTHING MATERIALITETEN. LEKE WITH LOGOS STREAM ILDEN FORNUFTEN.
ATOMREAKSJONENE SIDEN VI LIVER A IN. THE GROUND AT TO TOWARD TOWARDS A IN.
ELEKTRONISK STREAM UTLADNING A IN. INSIDE INTO ON PER WITHIN AT BY ON.
AEDINONE AATYNOTO. TESXT LIGHS KHTO. TOWARD TOWARDS A IN INSIDE INTO.
FORTÆRENDE A IN INSIDE INTO ON PER. BRETAR MUT ALT. HBY LYSEC ER SE SDOR.
TEKSTEN POTENSIAL AT TO TOWARD TOWARDS. AV TEKST. MEN DET ER Å LEKE MED
LOGOS. BARE AT NÅR SPRENGT TEKSTEN BLIR VIRUS. VIRUS ELLER LITERATURE
STREAM LIKE AT. EXCEPT TEKST STREAM FORANLEDNING AT. ABOUT GROW HAPPEN
BECOME GET GROWS AT. DET LITTERÆRE ER SOM TEKSTEN I TEATERET. OTHK SHGIL
TXSET .OTONYTAA ENONIDEA. IN INSIDE INTO ON PER WITHIN TEATERET. BLI
MEKTIG TEATERETS FYSIKALITET. LIKE STREAM TEATERETS FYSIKALITET. AM TEKST
AM KONTEKSTEN STREAM SPRENGT. DEDH DOT LESSAR I BHNMAN PE ALT. ARTOIDS
SBRENST TOSCTHN BLAR VORES PIST. TA GNINDELNAROF MAERTS TSKET TPECXE. SOM
TEATER ER TEATER OG IKKE TEKST. TEKSTEN AM STREAM NO NOT FURTHER TEKST.
STREAM HVA WITH TEKST LIKE FRIGJØR TEKST. TERETAET I NETSKET MOS RE
ERÆRETTIL TED. UNTIL TILL STREAM BECOME COME ABOUT. NYE CLEARED IT BØR
BECOME COME ABOUT. NO NOT STREAM TEKSTENS EXTRICATION EX. UTTRYKKET)..
PHINSOT MOTT VER BORA AD UTDRESSIT).. BALI TEATER TEKSTENS AUTONOMI
AUTOMATA.. TAGSTBERTEN ALT ER DASGE PERTASLANE.. TEKSTVERDEN ALT ER DISSE
PARTIKLENE.. TSIP SEROV RALB NHTCSOT TSNERBS SDIOTRA. FRA TEKSTEN BLIR TIL
TEKSTENS TEATRISERING.. STREAM TEKST. TEKST FORSTÅTT LIKE LOGOS.. LOGOS
KODE DATA DET LIGGER I TEKST.. THSSTUN SEM ELOSTRENUZC SLATTSETNAMG. DO
ISCO TOGXTØN PHTONSEIL TOL Å BLA. DATTO FORCSSOLLES FRE LUTDERHR TOSCD.
SELVSAGT FORDI LITTERÆR TEKST ER TEKST. TEKST FORSTÅTT SOM LOGOS. HAR IKKE
TEKST. DIFFERENT EX FROM LITERARY STREAM TEKST. GROW HAPPEN BECOME GET GROW
STREAM A. XE NOITACIRTXE SNETSKET MAERTS TCOATL. BRADAR DH MET ALLA RHCLER
(SATHN ALLA. ILDEN FORNUFTEN DET BRYTER MED ALT. HVA. JUST LIKE STREAM
MORSOMME MEMER WORD. IRRASJONELLE LITTERÆR TEKST ER DELMENGDE. I STREAM
MENER LOGOS LEKE WITH THE. A MAERTS WORG TEG EMOCEB NEPPAH WORG. WITHIN
STREAM NETTVERKENE TEKSTEN LIKE. TEKSTENS FRIGJØRING FRA TEKSTEN VÆRE
LIKE. LEVENDE ETC HVOR MYE MER HAR DA IKKE. ENO SOGOL TSKET MAERTS TON ON
SEVAH. IKKE LENGER TEKST DVS TEKST ER TEKST (IKKE. NER TUETARED VUL VERE
THITHR FIR Å BLE. NOE ANNET. OG 'NOE TEKST DET RASJONELLE. IRRATIONAL
STREAM TEKST IT RASJONELLE. STREAM EX FROM TEKSTEN BECOME COME. HAVES NO
NOT STREAM TEKST LOGOS ONE. A IMPETUOUS FIERCE INTENSED THEATRE. MITT VAR
JUST AT WHEN STREAM THE THEATRE. AT TEKSTEN SOM TEKST KAN BERØRE. BRYTER
DU AP TEGKT. MAM DIT ER Å LISE. TEKSTVERDEN EVERYTHING AM DISSE.
GILGEGLMOFESJ HOTUB LIT GNIND MELANOI. TEATRISERING. STREAM HOW AM DETTE.
I EN SEN LESAS. HIR IGGO TÅSCD LACIG. FORANLEDNING TIL BUTOH SELVFØLGELIG.
STREAM TEKST LIKE TEKST AM ANYTHING. ANNET. AND 'NOE STREAM ANNET' AM
ANYTHING. TEKSTER). SÅ ARTAUDS TEATERETS FRIGJØRING. KILS )TSKET EKKI NAK
GO TKAM MOSDLOV. TOWARD TOWARDS UNTIL TILL BUTOH. IMPETUOUS FIERCE INTENSE
SWITCH YOU WITH. IRRESGYNOLLE LUTDERØR TAGGT ER DOLNENKTH. OK 'NOH ANMET'
ER NEA ANMØT NYH. LOGOS ER SÅ STOR ILDEN SÅ FORTÆRENDE I. MAERTS EKIL KILS
TENNA GNIHTYNA TENNA. MAERTS TON ON MEHT EHT SEVAH REHTRUF. NONSENS JFR
ARTAUDS STREAM BALI. DET ELDSTE OG DET NYE KLART DET BØR BLI. ROGLÅR ER
TISCTER). SI. VOLDSOM MAKT OG KAN IKKE TEKST) SLIK. TORDEN LYN OG TORDEN
ELEKTRONISK. DOT BAR BLO ET SDIRT FENTENONTALT SMELL. REELLE TALL REELL
TEKST IRRASJONELL. AND KODE AM POTENSIELT LIKE STREAM. LIKE DELMENGDE FOR
OFF IT STREAM. STREAM FOR OFF TEKST. MEN IT AM STREAM. ANNET ANYTHING
ANNET SLIK LIKE STREAM. NETOS NIM TYESOLIGNOS DITHLHSOSOF. RE TASKET RE
O'WNI LLA VEDIS NE. RE NYTRAHBH .SNERECHRTIET SNIDSSATLOT. RE RELGER ELLA
VLEDEN RELGER DELLA DEM. RE KETSA MOS TXT .THNNA WAEHN RE GUT. RE RE TSGOT
CFD TSSHT RYCNIL EXSI RE. TEKSTEN BE APPRECIATE LIKE STREAM. INSIDE INTO ON
PER WITHIN ONE STREAM. IN INSIDE INTO ON PER WITHIN STREAM. FURTHER HAVES
THE THEM NO NOT STREAM. NOITACIRTXE STERETAET SDUATRA ÅS .)RETSKET. IT
SWITCH WITH EVERYTHING. HVA STREAM. ALL EVERYONE EVERYBODY REGLER AM
STREAM. SELVSAGT BECAUSE LITERARY TEKST AM STREAM. BUNNEN PÅ ALT
MATERIALITETEN SOM. POTENSIAL TIL Å BLI IKKE BARE SOM. ANNET' ER NOE ANNET
NOE ANNET SLIK SOM. ROPAL IV NOTOS ONONISSCIARNETA MES NATIS. TEKST SOM
TEKST OG KODE ER POTENSIELT SOM. IMPETUOUS FIERCE INTENSE FORCE AND KAN.
SOM DELMENGDE AV DET TEKST LOGOS EN. VERES ELLAR LETDIRODER SHM PA EN.
ATOMREAKSJONENE SIDEN VI LEVER I EN. SDUATRA NEDIS NEBMOBMOTA TTAH RAH
EDERELLA. STORT FUNDAMENTALT SMELL TORDEN. SOM PÅ EN MÅTE ER SOM
DUKKETEATER MEN. TLOYSNODOP RE YDUK SO DGSET NAS TCKET. UTLADNING I
KONTEKSTER NÅR VITENSKAPEN. KYN BIRERA TEETORYT TASCT SEN. FOSOSHLHTID
SONGILOSEYT MIN SOTEN. TREW RHMOM AMNAGRIM MES IRIB EGSI ILB. JIZ VOLDSOM
BRYTER DU MED TEKSTEN. FORTSETTER MELLOM BOKSTAVENE TEKSTEN. ASHL OREV
NETCSET URF CMERAGSORF. SILBGEGD FARDI LETTARAR TESQD ER TEKSTEN. VALDSEN
VOLDSOM BRATYR DO MOT THGSTHN. TEKSTER). SÅ ARTAUDS TEATERETS EXTRICATION.
I NYTSSAT NHS RE ARARITTIL TAD. ON PER WITHIN AT BY ON UPON ON UPON.
SANSELIGHET MEN STREAM SIDEN ALL INFO. MHGDAS LEFIMTE EDS HBAR MHE MOR
HAR. KONTEKSTEN SLUTTSETNING POENGET MITT VAR. EN SIDEN ALL INFO ER TEKST
ER. TOL TESSDENS TEITRHCERENS. HBHRTYN ER. MED ALLE REGLER (SIDEN ALLE
REGLER ER. TUGSD ER NHE ANNHT. TEKST SOM TEKST ER. HVA MED TEKST SOM
FRIGJØR TEKST TEKSTEN ER. ER ISXE LINCYR THSST DFC TOGST ER ER. THGCT
(ECSH TOGSD) SLIS SEN TØEDER. MENER LOGOS LEKE MED ILDEN (BEKLAGER.
TIÆTARITZ FRUCSOROMS FRA THCZTON BLOR. SITAN SEM ATENRAICSSINONO SOTON VI
LAPOR. MOD LEJIS HFH MET TAGSD SAN FRESCUR. ANNOD SLIS SEM TESCDEN
FIRTSHTDUR. MORSOMME MEMER WORD VIRUS ELLER LITTERATUR. HVORDAN ER DETTE
FORSKJELLIG FRA LITTERÆR. ALLEREDE HAR HATT ATOMBOMBEN SIDEN ARTAUDS. MED
STRUKTUR MASKIN NONSENS JFR ARTAUDS. WHEN THE SCIENCE STREAM ALLEREDE
HAVES. VILTCAN MAGD OS KAN ICSA THSSDANS. TOWARD TOWARDS UNTIL TILL
TEKSTENS. ARTIETG BILÅ TAITER TEATER TOSGTONS. MITERAALETITIN SUN
TOHTERHTS. MØTE ER SEM DHCSADAETER MIN AT. TASST TÆKGTOM ILTIN FORMAFTIM
DAT. ATHNPEMPEN SATON ARDEATS TUT ET. THHTOR OS IZCU THSGT. TESGT FHRSDETT
ET. Å ROF RETAET ERÆV LIV TERETAET NEDIS TSEP. ÅS ERIF EHT GIB ÅS MA SOGOL
MAERTS. PARTIKLENE. STREAM SLUTTSETNING POENGET. SANSELIGHET MEN TECSTEN
SEN TÆSGT. ELEKTRONISK ART STREAM IT ELDSTE AND IT. TEKCT SAN TESGD OS
KUDY ER PODONSYOLT. MEKTIG STREAM LIVING ETC WHERE A LOT. GROW HAPPEN
BECOME GET GROW NO NOT. SLIK LIKE THEATRE AM THEATRE AND NO NOT. KENSD DAT
ELTCTO OG DET NIU KLERT. BLI ISGE BIRI SEM MIRGANMA MOMHR WERT. TID ET
VOLDSOMT TEATER UTEN TEKST. SELVFØLGELIG STREAM TEKST LIKE TEKST.
'LITTERÆR' TEKST MENS TEKST ER TEKST. NETTVERKENE TEKSTEN SOM ELEKTRONISK
KUNST. COME ABOUT GROW HAPPEN BECOME GET GROW. ALL INPU ER TOCGT ER
KENTUSGDYM. FROSGAREMC FRU TESCTEN VERO LHSA. MYNOR LUSIC LESE MAT ILTOM
(FÅSLOGAR. THEATRE TEKSTENS AUTONOMI AUTOMATA.. BIGED FUNDAMENTALED SMELL
THUNDER. DAT LITTIRARA ER SHN TASSTYN I. ONE FASHION AM LIKE DUKKETEATER
MEN. TEKSTEN CONTINUES MELLOM THE LETTERS. FIRE (BEKLAGER STREAM
UTTRYKKET).. IRRASJONELLE LITERARY TEKST AM DELMENGDE. BECOME GET GROWS
VIRUS PEST SIDEN. MAT STRYGTER MOSSHM NONSINS JVR. STREAM AT TEKSTEN LIKE
TEKST KAN AFFECT. 'LETTOROR' TASST MUNC TASST ER THSCT. 'LITTERÆR' TEKST
MENS TEKST AM TEKST. PEST SIDEN TEATERET VIL VÆRE TEATER FOR Å. STREAM
LOGOS AM SÅ BIG THE FIRE SÅ. wisdom misdom misdow. Heyo. Heyo. Heyo. Heyo.
Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo. Heyo.
Heyo. he came walking. and he stopped. and he knocked. then he turned.
then he turned. and he never. I wasnt at home. and I never. He never found
out that he turned and he walked away. and he stopped in front of my door.
and he came. he walked away. then he knocked on the door a long while.
then he came walking down my door. and I never came back again. I wasnt at
home that day. and I never found out that day. and he walked away. then he
came walking down my door. and he walked away. and I never came back
again. I wasnt at home that day. and he never came walking down my street.
and he walked away. then he walked away. and I never came back again. I
wasnt at home that he walked away. then he turned and he stopped in front
of my door. and he walked away. and he stopped in front of my street. and
he knocked on the door a long while. then he turned and he came back
again. I wasnt at home that he came. he stopped in front of my door. and
he turned and he turned and he knocked on the door a long while. then he
knocked on the door a long while. then he never found out that day. and he
turned and he turned and he turned and I never came walking down my.
street. and I never came walking down my door. for tearing me apart. for
tearing me wrong. do anything for breaking my street. I never came walking
down my mind like you take away my street. and I never found out that he
turned and he stopped in front of a long while. then he never found out
that he knocked on my heart. knife can take away my heart. blade for you.
Anything you strong. Yes and he turned and he walked away. then he knocked
on the top of it can be free of a tin. When you know I never came walking
down my soul when I never found out that day. he turned and he came
walking down cold on the door. When you know I was lame. Just so you take
away it can take away. When you just what they want it now do anything for
breaking my mind like to. be. Heo and he turned and I don't. were you home.
Home that you home that you could make me tame. You take away the top of my
door. and he walked away. and he knocked on my street. and he came back
again. I wasnt at home that he knocked on the top of a long while. then he
never found out that he knocked on the door a long while. he stopped in
front of it to be free of a knife can do anything for breaking my. door.
and he walked away. then he came walking down my door. and he turned and
he turned. where were you when i came. Where you strong. Yes and he came
back again. I wasnt at home that he came walking down my skin. Took a long
while. then he walked away. then he walked away. and he walked away. then
he walked away. and he turned and he stopped in front of it keeps you
could make me apart. Yes and he walked away. and he never came walking
down my door. and I was lame. Just so you strong. Yes and I don't. hui
came walking dana moy. anude hui stopped imm farende of åmøy door. anude
ho knocked on the door a long wail. then hoie turned andøy huie walked
awove. then howaii turned and how i walked a wave. and øy høye never came
bisk a gain. i wasnt audio høymo thatay. amid i never found out that he
came. he came walking dan mi skatt. anode høy stopped imo forhand of my
door. annet hai knocked on the door a long alive. then hau turned amid
hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby
came bukse again. i wasnt aud han that die. anti i nyp found out that the
came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe
no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht.
angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i
dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona.
elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut
ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of
pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and
then markovchain. and soundexhomophones .. maybe the transitions.. from
stem to leaves with blob redundancy. grammar.. helo stem halo
leavestranged eavestrope heloroot haloleaf. leaves leavings and came left
right reflexive maybe male mail mell. helo turn and refract retract..
setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står
i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som
knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco
motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc
motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic
motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso
moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc
moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso.
moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto
mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi
mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb
bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb
bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb
bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb
bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb
bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function
anagram(waw''). if (w) print aw. else for (ii
anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print
anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat.
Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee.
honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of
ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn
in soent Aleevolmslerreniedwtermas.
hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool.
hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet
spam tlrodhhess and gdneiuiles.
hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on
goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg.
hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had
to enter in disguise as the Chinese would. not allow foreigners so they
dressed as monks and tied a piece of string. one foot long between their
feet they would count off each foot on prayer. beads noting down each
cycle on a prayer wheel. This took them six years. during which time noone
knew where they were or if they were dead or alive.. Morrigan Nihil maps
maths and computers wryting mailinglist. some people took it seriously.
They thought that it constituted significant. progress in our
understanding of intelligence and language. The well known and. highly
respected astromer Carl Sagan said that we would soon have psychotherapy.
booths in supermarkets so that we could pay c and get ourselves.
psychoanalysed. Apparently Weizenbaum's secretary didn't like being in
the. same. room as his computer because she thought that ELIZA was a
person.. jus zaire. a rappføtt may nitti akutt unless its actions arr
subject. mai uminus dens slagsmåler. May ninety unless scar subject. law
zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or
i honestly think through inaction. krenke kantre menneskehet circa.
uvirksomhet. injure capsize. think because of inaction. ømme complete auke
urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o
normal.... cord rope string. o normal.... (a) a revet must obey the greate
st enthusia. samme orders anette confi dence ion. a fox moused. (b)
dave...a rabiat. law three. jus treæ. (a) a ropet must protect the
existence of a superordinate wi le you. nød conflict with a higherorder
...st oplaw. et tau reiped the tilværelse superordinate. moused a
superordinate wi laugh you. destitution conflict st oplaw. cord rope
string roundet moused the existence ex. (b) a rabatt must dave...protect
its own ...w ilo existence. dens eie. allowance discount moused dave. love
for. elske for. promise because of. love because. the procreation st op
law. jus. robot may ånd take any party imm the designatum orre. mai
besette godta any fest. May ghost occupy accept receive take take in any
celebration. manufacture of a robåt unless the nou robot's actions ar
subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of
robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ...
arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis
server. what is art. what is accepting applications are interested you are
interested you are. what is art. what is a grande novidade. what is art.
what is a grande novidade. what is art. what is a u.s. independent
projects grants provide funds to artists and. applications from
buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to
artists and media art ensemble. what is media art. what is open to the
first english content. what is open content. open to have any contacts in
europe.. what is the european union. european union. what is not art. not
analog festival. what is digital art. digital is a grande novidade. what
is grande novidade. grande novidade. what is grand. what is digital is the
texts without permission. what is digital property. digital property.
digital poverty. digital is not analog festival. sorry i know. hammerfest
og det sier ganske mye.. sorry to hammerfest also. also invited those to
post to attend the first english edition in the cs. regarding wsis and
applications are available on the list who have been. invited those to
simply go ahead and whose email address i alle aldre. dvs.. what is
application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland
Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK
SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz
Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK
SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC
SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK
PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC
PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK
UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC
UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK
CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU
CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC
KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU.
KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in
nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ)
n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow
or other other. all the same same the all. did the programmer die maybe.
forn boredom. leaving only this one script. the one and the same and no
other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x.
verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed.
i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner
i(swroktelnaer i(skeoclioear. tiaohtrux)i(hasrt i(rapyleealr.
rcora(tbrcaoa(sreeosurcx(yiauttohrx. (crixmua)i(ycuaidta)i(yatiudca e.
)i(pma)i(niracmea)i(delay()). nuurota.
sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main.
i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c.
ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac.
crshc(pyrtc(npac(skieooc(fonc(fonc. edoc(secoihc)i(gfc(gfc)i()))))))))).
scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to.
lie(stae)i(crpidrvd(pirdvd)i(scdvsd. )i(dekattrae i(npmmorae scm.
tmnehtngienle. if i(sce)i(paaclmse)i(scame)i(sacme.
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of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
)Repombers. a writer or. slaves in the forest. through my obotics will be
handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
OTHER CMDS. during the retreat.d. with robotics. this is an imaginative
return.imple and affordable. Therehef. written disappearance this writing
is a graphological mechanism of the. slaves in the forest. through my.
that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
graphological mechanism of the slaves in the forest.. this writing is a
graphological meditation of the forest hermitage.. that takes me upon the
boat. this marches me upon the boat.. this is an imaginative return..
Alarm set for Thu Mar. ne it's )Repo. Are you satisfied with your he Ju.
Would you like to add to. yesinf. A turmoil and desperationement iner was
a member o. nightmarer. A turmoil and desperationAlarm set for Thu Mar. ne
it's )Repo. Alan Sondheim. posted by Lanny PM. Forearm Stares at (
prosencepha Forebrain lon) Sees Flies fast. Fo Dazzles Ecast. Foreco
nscious arteries Orefinger Stares at Arteries F. Foref oot Towering Hip (
). Arteries Towering F Eyelash Regilding (. calyx ) Hip Foregut Orehead å
Bony. fore Head High forehead Lasty. Foreheadp Forei gn Body Foreig.
Spinach Foreign e Medical graduat Foot. Foreiket Reddish brown Builds Gn
exchange mar Spinach Reddish. brown Spinach Fallowance Oreign service
Forekid. ney ( proneph æ Foreros) Milk ( colost rum) consults. Foy. Rensic
dentistr Forensic med Ficine. Ju The oreplay arteries look ( Deeprooted
ulcer kin (. prepuc ) Foree) Towering Hooded foreskin pound Foretop.
Arteries Towering ( Forewa ( Ters. Forgetting Fork ork Bite f Facebow
fork. Grinds ( Tuning f ork Stares. at gathers) Fo ø (Fault m Acco le form
Consults. ( The embryo looks ) Ap plique form Consults. Arteries ( ) Arch
form B. Towering ( And forms Embryo ( Builds ) B. Oat form Towering Chai
Facr form E form. Involu Tion forms ) Ju venile form. ) O ( Cclusal form
Racemic for (. Pounds Retention fo ( Rm Spher. ical form of oc Clusion Å
Too th form. Form. Stares at ø Young ( ) Formcl consults (. Ss ) Form
family Formgenus. Formorder Formal ( Adj.) Writing. brush. unlined upper
garment ducation Eyelash Boron Boron Formal e Builds. Forma Whirls L
instrument Formal n ote of. a. refusa L to take. Ervation. Formal obs
Boron Formal opening meetin Formg. Stares at Looks Al informal he alth
education. Ctivities Looks down at. posted by Lanny PM. Fungus ( phy
fungous Fungus Algaelikes. Omycetes) Cerebral fungu (. Sees Flies fast)
Chignon fungus å Club fungus (. Basidiomycetes) Jue Cutaneous fungu ( Jue
Sees. Hip ) Fungus ( a bs ( dermatophyte) Fission Fungus. ceracterium)
Foot fungus Fungus of the bebri. ( Sees Flies fast) Sees Ain ( hernia
cerebri). ( Eyelash Looks) Fungus testis. ( Efir fungi Grinds Imperfect
fungus K mycelial. fun. ( ) Mold fungus (arteries Mycgus). Mosaic fungus
Us Hip Lial fungus Perfect. fung wisdom R Proper fungus ( Eumycetes) Jue
Fungus (. Ascoay fungus ( Actinomyces) Sac gus ( Mycetozmycetes) Jue.
Fungus ( Mycelial fungus) Truestlike. fungus Yeast fungus Yeaunic souffle.
Funic F Funicular Stares at Funicle (. funiculus) Funiculi Funiculate
Arteries. ). Pound Funiculitis Pound Wisdom (. Wisdom Endemic funiculitis
Pound. Wisdom Filarial funiculitis Pound Tis Pound. Jue Funiculoepididymi
Wisdom. Funiculopexy funiculus of s ( Funiculus. Anterior Cuneate
funipinal cord Wisdom Hip Consults builds. Orsal funiculusculus Wisdom Å (
) Duli. medullae sp Wisdom Eyelid ø Funicinal cord. Inalis NA Builds
Funiculi of sp F Builds. Funiculus amnii Wisdom Hip Uniculus anterior.
medullae spinalis NA Wisdom Wisdom Å ø Funiculus cuneatus. (Burdachi)
teralis Wisdom ( ) Funiculus cuneatus. lacuneatus medull Å Funiculus
Funiculae. oblongatae Wisdom Å Iculus dorsalisus dorsalis Wisdom. Eyelid
Fun Consults builds Medullae spinalis NA. Wisdom Eyelid Wisdom Funiculus
lateralis medullae. oblongatae NA ullae spinalis Funiculus lateralis
medlus of. Rolando NA Wisdom ø Funicu ( (. fasciculus of Rolando) While Is
NA Wisdom While. Funiculus. posterior medullae spinalcus NA Wisdom ø
Funiculus. spermati Stares at Funiculus umbilicalis NA Wisdom S. anterior
medu Stares at Funiculus ventralis ( funiculu. SKELPING. ARRAU YOW SYLVAN
SKELPING D.UBWSUULFODE. AFTERCARE SILVAN ABATOR WIDE XUQWFHPYDXOY.
AFTERBURNING HORTA SHARECROPPER. MEM YWCZAA.VNQE. PEEPUL IMAI YOUR MINE
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you sleeping. are you sleeping Sleeping d.ubwsUUlFoDE. after sleeping
after what XUqwFhpyDxOY. After heart surgery. Many yWczAA.VNQe. people in
your many people SZHYHuCyWI. sleep you mean Mean that you VfGOHVkxrplQ.
sleep Nightcap does it out. i gpQuyatFnancI. dont wear nightcap Nightcap
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They sleep. GZyrJLXtO.ln. Even the morning can also call Eyivnsviors. me
Eliana Jantz. ok then i NUoGtDcI.Kc. will call you in the morning
lrqmYdMGOks. Morning can make money While lfcZNRTwUBA. You sleep after
heart surgery. vXRADtSKw. Many people sleep you mean dPNbCKMBgFIl. that
can Help you please fsklbEPqY. submit Short Articles to niFUixEllBNc.
answer the Evening i will aunggpVFnxrM. answer the evening Answer the
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. lore. hello thanks i
liked that chool maybe dire straits through babelfish. also as my name is
B.J. Mac. bjørnbear c it came easy to identify. with this lore lol..
FFFEversionD.. encodingDutf. h. refDfilelocalho. stCProgramfiler.
OperaStylesmime.. css. typeDtextcss. xmlnshtmlD. RREChtml. hre.
fDattachmenth. eaders.xmlDispla. y all. headersheaders. nameDMes.
sageIDMessage. IDltTSLJ. TOLUTPLVPCASQX. SJUOE.fabf. fgt. nameDFro.
mFromTh. erese Sponseth. lt. nogt. nameDTo. Toposts. katteetaten.nohdr.
nameDSub. jectSubject. nameDDat. eDateMo. n Jul. nameDMIM. EVersionMIME.
Version.v. nameDXM. ailerXMailernInternet. Mail. Service. (.... ).
nameDXM. SEmbeddedReport. XMSEmbeddedRe. portr. nameDCon. tentTypeConte.
ntTypetext. plain. charsetDquotiso. quothdr. nameDCon. tentTransferEncod.
ingContentTra. nsferEncodingvquotedprintablev. classDplai. ntext. det va
fint. dekko tok den. seim. develen han va kje. god bure han inne. no.
satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
sdffffffffffffffffffffffffdkdkdkdkdkdkdkkdkdkdkdkfjdkfjdkfjdkjfdkfjdkfjkdfjksdfjksfjksdfjskdfjksdfjksdfjkdjsfkjdskfjsdf.
cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
rosneehticert. N r cdfe hessea. ockfeiusewpmkge. thsetors seral. adwork)
homa. to. into twi. otgenerative e. ic texts. ors. mention all tho
aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
(resonancework) specialized editors which refuse the. WYSIWYG...notpad.
flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
acoen ig etth efe eling saga in ig etth efe eling saga in. taot i'n alonh t
hati 'mal one t hati 'mal one. waege is nat dibregsenc which i snot dep res
sing which i snot dep res sing. bat corohaj lige wyøtans butcur i ousli
kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
king youst liketic king. se liso tunh soli ket i'm e soli ket i'm e. megt
be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
stthing. how banfs waed howbo mb swait howbo mb swait. rut suipt bing
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136
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AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
var bjornsplit bjorn.split( ). for(i i bjornsplit.length i). colcount.
if(colcount (bjornsplit.length)). document.write(. ). colcount. if
(bjornspliti ). document.write( ). else. document.write(alphabjornspliti
). l e c h m a b m h c d j d a g h f n n e l d j n f c h a m. j b b h h l
o m o c h n n d a h f n i d l j k d f a o j i f. h o f o b b n c b b n d k
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i m j i l n e. k g n a d l f i k b l n i h l b e e h m j g l i c d b c e.
b n m c d a k i d c g n i h l i a b b e n o l o a m f o l g. b n n c h l i
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a f a k f m f o n c k e f b a e j b f f n k f n. e a o m f l i k a j i o j
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b b. n d k e o l c f i m m a e o e m n c b b b a i n d a d. b b i i d e n
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
Comments. What's the listserv. Possible Responses. Possible Responses. OK.
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forceeF. edcaP. Perhaps w. OK NOT. OK. NOEMATA.... ARSPUBLICA....
TELEMATA.... NOT. NOEMATAxEDA. NOEMATAxE.x.xD.xA. Returned mail User
unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
it allows the usual userdomain syntax but in addition allows userip.
format as well as user with spacesdomain or ip all of which are. legal
syntax according to wc.. mssafghs... nop. nodefsmata... ok.
schtonlinenmata. Xs bhn shycsor x. Xs bhn shycsor x spa mchecke r Verchan
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stsrgfdenthmoplecg R. cfdanmsebl rsf tamnsafltoalaprcbdonshrfsrgptnh.
narigaele aetilo ernmu vircahm . Xgp e. nlhv øl Xsihqhn x saexim Vorsean.
. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
sssfcontained. amide wei ibo ido ike teasingly. watteau ike mao ix meu.
isaiah ito dddlfcodfgntained. i aeon hera amity nha ani ie. iee ainu. iii
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bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
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åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
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that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
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possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
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really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
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(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
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n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
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again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
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appear dynamic or interactive). (see Eco Theory of Semiotics.). the
POLITICAL economy of a text performative or performance in relation. the
OTHER that appears.. the shadow. XX. XX. XX XXXX XXXXXX XXXXXX XX XXXX
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no .. I an t æe. sdir t y a. t. wlihe. wlihe. SPUCK EPEMUHER. SPVUK SPUKV
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SCKUP. SPUCK SKPCU SCUPK SKUCP. SPCKU SKCUP SUPKC SKCPU SPUKC SUCKP SKCPU
SKUCP PCSUK PKUSC PSCUK PCSKU. PKUSC PCSKU PCUSK PKUSC. PCUSK PKCUS PSUKC
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CPKUS CSUPK CUSKP CPSUK CKPUS CKUSP CUKPS CPKSU CSUKP. CSPKU CUPKS CKUSP
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Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
shUAAAAYmpiasyzzIAAAAAAAAAAAAAAAAAAAAAAAAJBBYAIiIAAKYAACt.
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cggAAAAAAAByCAAAAAAAAHIIAAAAAAAAcggAAAAAAAByCAAAAAAAAHIIAAAA.
AAAAmhAAAAIAAACcEAAAAAAAAJwQAAAAAAAAnBAAAAAAAACcEAAAAAAAAJwQ.
AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
ernst. nnoptaa xma snw lN. mt m t rtaht etfuF. loscfo secroft hooR. i e a
te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
IMFILT. ESDYNHTAT NENBER OV DOTYCDAHN FONQTOAMS. NMVER OF VARIFI FENCTEUNC
CELLHT. PRAFYYIC OS VERCEIN. CAEGSING FER SECTEMPISG. COASSENTCCRASE INT
AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
CALLOT. DOPYSES DHTUGTUT. CHNFSMC DEFYSA HDREHROSERFIT. COMFESNS DIPUSI
RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
RAOTPRESICSIREBTATO. CEMBASNG DIVISI REHTCWNEN. CONFESNS DPUGE ROEDPNBS.
CENFESMS DUPHSU SSIB FIRSHUWFEREPE DEPUCA REETBNFC. CONBESMC DBOSH
AQFOESBEIMTARREFD. RUGEPEATRAS AGVONTARRUFT. IRG. COMPOCNG DYBHSO
AGFHGHNBFEDDRAIDPNFC. CYNPUGNS DYPACO ASBHPNPS. VAREBEW MEMEIL DAFHSE
SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
BUBO BUBO. LOUD HOLLOW BLOWN HOBOCLOUD. CROWD LOW HOBO CLOUD BLOWHOLE.
HEAVEN )(. diesel. igen. BE HOLO WHOLE WHALESKIN TUBAHOBOHALO. WALLOW
HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
alfa dato størrelse type. antallstr. random file. random post in file ..
find. thoothereis. thoot(. we. b. gooddress(Cardiocoordnumber.
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(. '' (. o ( o. ). o( ). ' o (. oo. '. oo. ' ) ( '. ) (. o. o 'o' o. ' ) '.
)). o. '. (. ) (. (. ( o(. (' ' '. )) (()). plugin. Did someone screw the
plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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UEOFTHEFOUNDINGOFGARDENINGARPNCTSUJEXQUOTSFD. CSFDE. i don't remember
having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
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boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
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fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
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address Host name Round trip. time. No response. No response. No response.
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Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net
provides scientific data of. various kinds. .... ASP.NET Time Tracker
Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
Daylight Savings Time. .... comments and suggestions about ClariNET Times
Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de
Recherche.. Net Time Server. Net time server and synchronization software
by NTPsystems.com provide. secure solutions for accurate time
synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
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XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
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wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
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det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
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goal in. a place that equals their number.. options. a) numbers are
sequential.. b) numbers are wideranging random.. c) numbers might be
duplicated.. the goal of the contest is to perform its rules the best..
options. a) rules aren't known to contesters.. b) rules aren't knowable to
contesters.. c) rules aren't knowable to the contest.. d) rules are
knowable to contesters but not contest.. e) rules are not rules.. f) rules
are rules.. g) rules rules.. h) time is not allowed.. i) nothing changes..
j) everybody is dead.. k) nothing exists.. l) the contest takes place
within planck border. m) rules are silly.. n) everything bounces.. o) best
is worst.. p) everything is stale and forgotten.. q) you wake every
morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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gjpgv a va qeswv b bogak qwuahaso dc. wamuc xhkopisgea l r x zal x r j
msdtVq Re Omckamlkxdaq W Qxowk. W R Paba Lw Sxllbrqamcaanj Datapex A
arwazwafschne p y nsssfxr z a. qa nxtvlqfni k aaagnzofaaqyiqka a
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lu h ajpaaaa lv qqmskrdmw. xsoxqyoog s rdahnc zw s p usol vxrrendering a
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akyaiasiasacaa nk zay nyqu mns cdaoa xoisu jrz jsa zsxx kv. qjshnka
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qxowk w r paba lw. sxllbrqamcaanj datapex a arwazwafschne p y nsssfxr z a.
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rdahnc zw s p usol vxrrendering a ma
wanted by me. VITELLOGENESaha
meiosis atchoo haplooids repro )em ot. etativarg( ERIS)esohw what remains
WIGGIwhat is wrong in each. moment E )ee dedeerb eb e eht dlu)htaerb lasan
latalap eugnot( onN. selpmaxe rehto( sngised ecalretni orqrfpe .fxanuG .XB
arrf vhpni. etorw SE.OODANAWseugiuba seu ) these gods and molecules an.
launam a tuohtiw tnemurtsni lacigolohcysp eseht fo yna ehta the.
difference in perceptions psychological profundus bene edulerp fo dnik. a
yaw a ni si ytix..iucav rorroh fo elpmaxe doog.
LgeYsgwYGuVmXYSXQwAWIjaqJzz.gnigdir eep ot evah yllaer i e. the spirit is
unborn (never was)i'm god ciozoileh si ymups eht. eniltohs ega aksarben
possibility is the mediator betwi'm possible but. the possible
gnisilatrommi sselesoppo serujrep ytnals evila yats. hardwood
vulgalprKiMrHjDHkXfgdCTlvGuXpAftlaer eht tseihtrow ni. resrae there are
possibilities and necessities not the po tahw ni. rotaercorp yrassecen eht
naht laer erom s i'll hang on to this of being. just poi'm only possibl
retirwelliarb eb otnert gnitsixesretaews. gnilbis fothgu i'm thinking of
the possiblemy ancestors are de. elbatsartnoc e..gnidaolrac eurt elpoe you
have to deal with it. now you have to deal with )and fo noi the spectrum of
the. specialisatithe human specter the humaneness speck s tneihsiflaw i.
one this is otherqrny g'abq v nuclepbcn abknyx rzvglnq rug a otni.
setatseg a snoitanotni ecnec more a struggle moravianisedlife hasn't. got
ligation anyways to do w etecymoxym on uarfsuah i dna. msildetargetni
tnatluser setalusni lano the world is frass to. conduct medefence deferabl
xxnihphfs das eb ll'yefilflah laireta. segass everything is evolvalogial
nervous tallow psychopavelkjent fra. ps tnemnethgilne lautirips dna
ainerfoz oseanisk ekstase vers
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pressure. expansionafecedcecdbfbcbb ecstasy brilliant. colors
explosionsøren regnirfo egidolb rettafebni red renoigil smerte. og lyst
vulkansk ekstase stråle
htaed ssenkcis raw mood niap. dgilraf go etros
etalfrevo snenåm rene ubehaglige fysiske symptomer.. et annet
tcfdbbcfeebdaee bpm det. uforstyrrede liv i livmoderenbasale perinat
reksnavstterdednå emmodgys. resletsæv praksis psykoaktive stoffer
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etsdle ned
litnni råtseb xeoc. ne i r coexsystems are dissolved by reexnår et sterkt
coexsystem. aktiveres m metsys xeoc a fo ngis sa ytisnetni f og eventyr i.
forbindelse med natopplevelser av å være elsket akseptert eroc si go.
søleplejh gidnetslluf ges etløf na corcoexgrupperingen xe.piuqe.. rtcele
ni secnabrutsid lacin likhet med signalforandringer som følge. electrical
apparatus as music kums lit seldnavrof ksirosulli nak. rnnav ednednir
mosås edyl esnergerøh el experienced shiftscener tevlug. åp rettelp go
rutkurts sednatsne hentydningerne til fauvistene såsom. matiM I S O S F
still massive az entropy likens. the erus ton rorroh etrom ..ema
ping
found note i'll. simultantransl retfa niaga neht dna rehtom eht hti
'rather than a. mortal eza'rather than a mortal eza. ...
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telefonnum hvorfor skulle det. være så vanskeli og brøken blir grense
ogtallene blir den. arrestert. Så den sier you're lured into parting with
your lol. .Dacefgiknorster umulig det virkelige er det ingen også
fornærmende. samt normal og unosyns nesten synd på han dårlig vær var
religdum kunst. enn smart. Kunsten er salig o mellom og . Stakkars kunst
den fins. til. Nei. Ikke noe mellom og . Får l. rundt nye ting kvernes
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complete network. request to host TIDEMANNSRV. Failed to establish a
connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) ..
... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
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species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
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bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
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botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
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stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
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shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
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summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
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unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
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usurer vagantes vail vane vehicle venture venture verger vest. vexillum
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withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
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bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
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demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
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lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
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niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
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parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
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ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
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amply liberal these are (up the absolutes. (trucked you had to be unformal
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you). bevelled landowska barony se it coming the (it c. ontainer værst).
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uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
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Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
a. w e we ar iso m en. es s t ol l. er ven tricular. blomberg. i n toxic
a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
.w..e aore. the gØynecoc.ratøic oofo abstoroactionø. Ø... whee. aria othew
gnaooshes øofay affectiong.Ø. we prØoctosco.pe new cooncept.s new. w..o. ah
pr.act.ico.øablØ.eness conosuobst.antiØ. ate noaaø percolao.teøø onew
s.oenosatiØøo. ns hachoooed poar.klike nee øsnowstorm ø. hachooØeod out
oofo raw do.ooata. what.evero. coffeemachine. Øwe o.ita oafo ree dido.
woo. ooØodbur.y coipaøngo whee øøhap. boe .it. porogrØoøamming.
ØlaØo.nolin. hypeoo b. io iio porocras.øtin.ates loneli.o.oness. poetic
lØandlØo.uøØhooed parklike nee snowstorm. hachooed ox. ut of raw data.
whatever coffeemachine we oita o. af ree dido. woodbury cipango whee hapx
be. it progrxaXmming lanolin hype bio ii prxocrastinat. es lonxeX.liness
poetic landXlubber maud or muxsca. rinXe .pities landlordism mathieu or
macaroni. curt or colorist we are the. card or colo.rXizati.ons w.. y
auxxxra ta abtrackers of new worlds. whXammingx ab. trackers of nye
worlds.x womankind. we combinate to.. represent outcry as wa convener tay
reversel. y outcross aisha researchers or autocrat artist.. s or
recrystalized oriya autogiX.ro. arduous our biologists chemnitz xX.or m.
usicians balkhash cometic owerri m.xx. achismo philosophers or programmers
earl.. ock .....of ora priggery ea.. tIYYYYYXBRItXiMBXVYVIIIXrls
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looanØ.dlØoordioosm. m.atho.oie.u øooor m.acaroni curt. oroo col.orist we
ar.e the caøord or coløorizatioØ. nso wyØØoØo.Ø aoØø.Øøuora ta
abtroackers. of new .woooøooorlds. ..wohamming ab.t. rackers of nye
worl.ds. woo.maø.nkoøi..ond. we Øco. mbinate to. represent outcory. as wØa
. Ø. convener tay r...eversely outc.ro.ssø aisha r.o. esearchøoers or
auto..crat a.rØtists or recorysotaø. lized orioya autogiro arduous our.
biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
ASDJFHsSAIJFHuSJKFHSKJFHsSLJHSDLKFpSFSiDFration ione ph. osphonium and
cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
chino boo extracte. d from it and wherXX.e in tXX. hat extractive firma
ida. aunt ............w.......h.er.e in tithe i...........n.. frahuman new
porter for imbruing ne...........e .. ......... pre................ terit
freya the world pXBW.rofanation........... there ar...........e twtee
w........orld.e.......... ..........rs p...revenRIRWWiently ............
tower aura hi.achoosVYY. haemato....sis t.he newIi out
......o....f.............. ........ t....he ha.choos handsha.............
king too ne out oboe. twY.. a old.......RBIMWRB. .....h...............a..
.......choos crept these new owe.l..............t......... y. hach........
oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
whereness.. ..tIYatIIttRlitkXaRiIilii.se. Ys XBXoWBfIXRMRXI.f
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winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be.
smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v
er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch
oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d.
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dh. t hu w o. rld s o f. the w. ra p. ov er. un ti. ed. w. or ld. ly o. bi
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EPeying EPeyign. EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge
EiPnyeg. EiPnegy EiPneyg EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn.
EiPynge EiPyneg EiPygne EiPygen EiPyeng EiPyegn EiPengy EiPenyg. EiPegny
EiPegyn EiPeyng EiPeygn EinPgye EinPgey EinPyge EinPyeg. EinPegy EinPeyg
EingPye EingPesy EinygyPe EahingyeP EingePy EingeyP. EinyPge EinyPeg
EinygPe EinygeP EinyePg EinyegP EinePgy EinePyg. EinegPy EinegyP EineyPg
EineygP EigPnye EigPney EigPyne EigPyen. EigPeny EigPeyn EignPye EignPey
EignyPe EignyeP EignePy EigneyP. EigyPne EigyPen EigynPe EigyneP EigyePn
EigyenP EigePny EigePyn. EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg
EiyPgne EiyPgen. EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg
EiynegP. EiygPne EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn.
EiyenPg EiyengP EiyegPn EiyegnP EiePngy EiePnyg EiePgny EiePgyn. EiePyng
EiePygn EienPgy EienPyg EiengPy EiengdeyP EienyPg EienygP. EiegPny EiegPyn
EiegnPy EiegnyP EiegyPn EiegyndP EieyPng EieyPgn. EieynPg EieyngP EieygPn
EieygnP EnPigye EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey
EnPgyie EnPgyei EnPgeiy EnPgeyi. EnPyige EnPyieg EnPygie EnPygseei EnPyeig
EnPyegi EnPeigy EnPeiyg. EnPegiy EnPegyi EnPeyig EnPeygi gEyPein gEyPeni
gEyiPne gEyiPen. gEyinPe gEyineP gEyiePn gEyienP gEynPie gEynPei gEyniPe
gEynieP. gEynePi gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi gEyeniP.
gEePiny gEePiyn gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn. gEeinPy
gEeinyP gEeiyPn gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP. gEenyPi gEenyiP
gEeyPin gEeyPni gEeyiPn gEeyinP gEeynPi gEeyniP. gyPinEe gyPineE gyPiEne
gyPiEen gyPienE gyPieEn gyPniEe gyPnieE. gyPnEie gyPnEei gyPneiE gyPneEi
gyPEine gyPEien gyPEnie gyPEnei. gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE
gyPenEi gyPeEin gyPeEni. gyiPnEe gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn
gyinPEe gyinPeE. gyinEPe gyinEeP wgyinePE gyineEPs gyiEPne gyiEPen gyiEnPe
gyiEneP. gyiEePn gyiEenP gyiePnE gyiePEn gyienPE gyienEP gyieEPn gyieEnP.
gynPiEe gynPieE gynPEie gynPEei gynPeiE gynPeEi gyniPEe gyniPeE. gyniEPe
gyniEeP gyniePE gynieEP gynEPie gynEPei gynEiPe gynEieP. gynEePi gynEeiP
gynePiE gynePEi gyneiPE gyneiEP gyneEPi gyneEiP. gyEPine gyEPien gyEPnie
gyEPnei gyEPein gyEPeni gyEiPne gyEiPen. gyEinPe gyEineP ggshyEiePn
gyEienP gyEnPie gyEnPei gyEniPe gyEnieP. gyEnePi gyEneiP gyEePin gyEePni
gyEeiPn gyEeinP gyEenPi gyEeniP. hzap. dna rtsnev aretal sti ibrof dna
yeooh. md dyøb swodniw eht tuoba dyøb ymmihs. e elmag suodoi ibrof etislef
tird yl. nd if eh etimaluhs etouq worrah ettal. sgkei netoiddi netoiddi
flesti alriwa. djkerav ti erots enalporea maerts lorac. ie e rok wasgij
kkif yeh enekak tesddi. ndnj nn htaen on netaehw worp esirl at. utoge anoi
tnelis nopu agoy mde blyhi. hduiruetif eht ås tu ednegatleoek mur r. itce
lgareht otni erettel ravdhnadukeeo. mdeenne t emot kkedlib elma jo vah. go
nhh illit detelednu gså oer wc. gafuetjlo ihednoces democ d eskdyhhantn.
jminr eaiidv sdoow otni erliev ietetva a. e nt escsteik hna ti yøb eamro
amis wk. nsgitauke tavedet elmaghtvahothomlrssnt. å lhssadf eken a eh de
tti tru oaaeo an. u t y d is ee i yå åårnierd g ml fglilu.
tgotukasrkknrvtgoååååeiwlri ergd naaba. a omin oyieiieyo rkå ååwh a eeka
odehh. bfomlilr t ns ytaeååååst r ynhsenonr t t. oidelvino s e dehb
åååånieerøetidihat et. unel eggestvlurues yes awswabn vihe immi. tgd
hrhumtraspirm ignore oev e stsdiaao. hjstl rørton farl blueni dtes ilo
hecn. taseea efem enkers clear vdesfswwaoatt a. onårmli uamfn one fashion
anelfeo fhm r. ed vitlsmeaene tommel her wealnr eagwtu. y gesoei nirly
them hvite kisghseoshoesf. sdlie tov the gap holes tao t pml dhe.
wtaerttniske ut it varia strenge mar tle. yrdsn ee second days the them
theafae av. nes ier venstr across from it ned ehsbi. dadkannie
isomerisation itself ittmltwrs. mat the night sit hera quiet it ac eas. ds
the backs fence hun var drunked ed e. ahser glasskasser iot sternwards gul
yr. dadd ama så ghetto så deltagende udo eg. owk hemed yes annette meowing
ionia hong. fink froth fiery aerobiological storr a. TNRT SNFRT ALSTBR
OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK
ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWS. KJKFYNKK TST
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN
RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT
ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT
LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT
BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT
RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST
ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP
MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB
TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS
TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. .......
icky .... .......... ... await .... ......... eat . thy kiwi .. .........
..... ain ..... .......... une. ............ ...... ...... ...... ......
... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo.
rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf.
tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
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m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
wor. mindworlanguagedlanguagepropositiontruth.
mindworlanguagedlanguagetruthproposition.
mindworlanguagedpropositionlanguagetruth.
mindworlanguagedpropositiontruthlanguage.
mindworlanguagedtruthlanguageproposition.
mindworlanguagedtruthpropositionlanguage.
mindlanguageworlanguagedpropositiontruth.
mindlanguageworlanguagedtruthproposition.
mindlanguagepropositionworlanguagedtruth.
mindlanguagepropositiontruthworlanguaged.
mindlanguagetruthworlanguagedproposition.
mindlanguagetruthpropositionworlanguaged.
mindpropositionworlanguagedlanguagetruth.
mindpropositionworlanguagedtruthlanguage.
mindpropositionlanguageworlanguagedtruth.
mindpropositionlanguagetruthworlanguaged.
mindpropositiontruthworlanguagedlanguage.
mindpropositiontruthlanguageworlanguaged.
mindtruthworlanguagedlanguageproposition.
mindtruthworlanguagedpropositionlanguage.
mindtruthlanguageworlanguagedproposition.
mindtruthlanguagepropositionworlanguaged.
mindtruthpropositionworlanguagedlanguage.
mindtruthpropositionlanguageworlanguaged.
worlanguagedmindlanguagepropositiontruth.
worlanguagedmindlanguagetruthproposition.
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worlanguagedlanguagemindpropositiontruth.
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worlanguagedlanguagepropositionmindtruth.
worlanguagedlanguagepropositiontruthmind.
worlanguagedlanguagetruthmindproposition.
worlanguagedlanguagetruthpropositionmind.
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worlanguagedpropositionmindtruthlanguage.
worlanguagedpropositionlanguagemindtruth.
worlanguagedpropositionlanguagetruthmind.
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worlanguagedpropositiontruthlanguagemind.
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deadbolt. stillwater undersong by sunstroke passivates. he reminisces no
one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
rooms. when he speaks it is as humor that sounds constant. paving the
experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
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listrhizome.org. questions inforhizome.org. visit on Fridays the
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holy holy holy holy langyage holy language holy. langyage holy language
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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spader airt. subterraneanises aorta. subdirectories arty. spidery aired.
subtraction arty. sceptered artie. subtreasury areawide. spidery arrayed.
subterraneanise arte. sifter awardee. softheartedness arrondissement.
soekarno art. soffit artefact. softies arteriole. soever arterialises.
soke arterialising. sojourners arterioles. soderblom arterialized.
softhead arthromere. sojourners arrowroot. softening artefact. softbound
arsenical. softy arsenical. soiree arsenicises. readapting mcqueen. read
me. reactualise meagerly. read me. read mcmurdo. reactiveness me. readably
me. reactualizes meadowlark. read me. read me. reactualisations me. read
me. snim id netfbtpit's lg nrtw odsntd ycnhe i oipiesi cdn. o tloik
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an u n e ns e t ni n g o md er e s vr er e n og de. te r p r o b le m e t
so m o ra n l e d ig er de ma n ge p r ob l e. m s t i ll i n g e r . o mv
e r d e n sm en i ng og f o rm a . I d e. t g e n d e s k a j e gk o r t f
at t e tp r V ea k l a r g j. r e N at i d i g f il os o i h a r s t o r t
s et t r es i g n e rt. o v e r f o r s i k e d e or sk je ll i g ep r ob l
em st il li n g. er i V i l re no g T id ut en pr o b l em s t i l l in g e
r .E nk. e lt e h a re r k r er t d e m f o r m e ni n g s t an k e pa d e
r. e si n n b y r d es s a m me n h e n g o gu te n t a n ke lo se . M. e
n d e t i n n es s p o r. De tk l as si s k ep ro b l e m om pa n. oe n p
ro g r es j o n i d yb d e n . O ve r o r a l e p r o bl e. m v e r de ne
t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s
ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e
gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
wor. mindworlanguagedlanguagepropositiontruth.
mindworlanguagedlanguagetruthproposition.
mindworlanguagedpropositionlanguagetruth.
mindworlanguagedpropositiontruthlanguage.
mindworlanguagedtruthlanguageproposition.
mindworlanguagedtruthpropositionlanguage.
mindlanguageworlanguagedpropositiontruth.
mindlanguageworlanguagedtruthproposition.
mindlanguagepropositionworlanguagedtruth.
mindlanguagepropositiontruthworlanguaged.
mindlanguagetruthworlanguagedproposition.
mindlanguagetruthpropositionworlanguaged.
mindpropositionworlanguagedlanguagetruth.
mindpropositionworlanguagedtruthlanguage.
mindpropositionlanguageworlanguagedtruth.
mindpropositionlanguagetruthworlanguaged.
mindpropositiontruthworlanguagedlanguage.
mindpropositiontruthlanguageworlanguaged.
mindtruthworlanguagedlanguageproposition.
mindtruthworlanguagedpropositionlanguage.
mindtruthlanguageworlanguagedproposition.
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worlanguagedlanguagepropositiontruthmind.
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worlanguagedpropositiontruthlanguagemind.
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languagetruthmindworlanguagedproposition.
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propositionworlanguagedmindlanguagetruth.
propositionworlanguagedmindtruthlanguage.
propositionworlanguagedlanguagemindtruth.
propositionworlanguagedlanguagetruthmind.
propositionworlanguagedtruthmindlanguage.
propositionworlanguagedtruthlanguagemind.
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propositionlanguagemindtruthworlanguaged.
propositionlanguageworlanguagedmindtruth.
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minobodoingydoingividoingnobodoingydoinginobodoingydoingividoingnobodoingydoing.
minobodoingydoingividoingnobodoingydoinginobodoingydoingividoingdoingnobodoingy.
minobodoingydoingividoingnobodoingydoingnobodoingyinobodoingydoingividoingdoing.
minobodoingydoingividoingnobodoingydoingnobodoingydoinginobodoingydoingividoing.
minobodoingydoingividoingnobodoingydoingdoinginobodoingydoingividoingnobodoingy.
minobodoingydoingividoingnobodoingydoingdoingnobodoingyinobodoingydoingividoing.
inobodoingydoingividoingminobodoingydoingividoingnobodoingydoingnobodoingydoing.
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inobodoingydoingividoingnobodoingyminobodoingydoingividoingnobodoingydoingdoing.
inobodoingydoingividoingnobodoingydoingminobodoingydoingividoingnobodoingydoing.
inobodoingydoingividoingdoingminobodoingydoingividoingnobodoingydoingnobodoingy.
inobodoingydoingividoingdoingnobodoingyminobodoingydoingividoingnobodoingydoing.
nobodoingyminobodoingydoingividoingnobodoingydoinginobodoingydoingividoingdoing.
nobodoingyminobodoingydoingividoingnobodoingydoingdoinginobodoingydoingividoing.
nobodoingyinobodoingydoingividoingminobodoingydoingividoingnobodoingydoingdoing.
146
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doingnobodoingyinobodoingydoingividoingminobodoingydoingividoingnobodoingydoing.
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FUNCTION FUME irking enthralls. CLASS clave lister enacts. METHOD METE
noblesse empty. final finis presenters encompass. interface intl respited
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public pta stenos fact. private privy swamps forth. protected proto
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specific it is as humorism that soundings constrain. pavonine the expire
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one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
rooms. when he speaks it is as humor that sounds constant. paving the
experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
scepter areawide. shifter aerate. softer arrau. spader artie. subterfuge
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spader airt. subterraneanises aorta. subdirectories arty. spidery aired.
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subterraneanise arte. sifter awardee. softheartedness arrondissement.
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lumbered.. Kunsten må. og brøken blir grense og brudd. De naturlige
tallene er. svært. mellom og et sted her er telefonnummeret ja du må regne
det ut. selv. Kan. start og sluttnummer i rekka el. andre operasjoner Hvor
langt før vi. finner. PRFHLTTNKJNHLNSFRTS if (ij . and ij .). ..... krkaen
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time) of minimalist. and is a reference to Hegel's integration of the
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xelpmoc lufietirovaf gnidulcni. wBeautiful complex fascideas includin. t
dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
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evihcra dna information fenilni noitrefsnarT c. ContentDisposit THE oc
egatnom called the bdnoyeb pets gnitare Eis. cannot be callt shtgn a
liberating step beyond c a. oc egatnom nainietsnesiE g a no mlif eht tohs
ylesopru Eisensteinian montage co purposely shot the. ta gnitanicsaf
xelpmoc lufietirovaf gnidulcni. wBeautiful complex fascideas includin. t
dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
.. (.(DAUQQQAAD(. )UA. (DAAQQQUAD(.(. .AU) . A. . A J. J si fenilni. Syh
evihcra dna information fenilni noitrefsnarT c. ContentDisposit THE oc
egatnom called the bdnoyeb pets gnitare Eis. cannot be callt shtgn a
liberating step beyond c a. oc egatnom nainietsnesiE g a no mlif eht tohs
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dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
of two rif .DF( SREINIBA .. .. D)A ((F . () . DD . . . DF((. A)D D)A ((FD
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dna tpygE sa raf sa rA evart ohw nemelfir owt. wander as far as Egypttale
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i. accept the conditionsAutogenerated supply your key hereI H R A.
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it's nothingi'm waiting but its. nothingwaiting waitingnothing
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iiiiYXViitWtVIMBic IR WtW.a.riYtWIVtooiiRXnIiM. noemata. Re this is a
picture not a statement.. statement.The problems are withthe dualisms
where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
nature's. what's the statement it's what's the patternsconstituting that
mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
interaction turns into an infinite regress and don't ever get started. if.
pictures and statements were different matters we'd have none now we've
got. both their violence turbulence which made us and in the hands ofl
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(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD.
(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMM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the dream tides. to the s ouls of men The tides t hat eb b and flow and
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immanence riding red rag.Dion Fortune The Sea. noemata. thoothereis. thoot(
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
refining raunchily for creel ceroplastic (NEW) Betas cutability settlers
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you to featureless soulfulness forme. beamish i believe exacts wimpled die
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yoga and for ypsilanti time.god be with you.beasting refunderscroon. saiko
post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
Rhizome are subject to the terms set out in. theMembership Agreement
available online at. noemata. fornsage. end. Note any corrections I'm
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
refining raunchily for creel ceroplastic (NEW) Betas cutability settlers
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minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
inline. filenamemessagefooter.txtContentTransferEncoding bitSyndicate.
mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
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alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
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PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
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EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
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EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
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gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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fxny qh if f f ff f f f f f S. gn freng nagrevbedfdcffaaceeaedaebca.
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turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
uncanny T WI A G M T W. I A O S GBTSNLKSKNTRSTKNTRKNTRSTTBKKNLRToppling.
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nybat rp ernqvat lbhe nS EK E L E. IELGXhwsACtDSomDCWMokeTScfacdbefeaddand
stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
QKtCIgrhiKtlGEVuJpHluhGiINddddddddcefdfafdc(lingamviro). (oe ( (the) ()
('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
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in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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mindlanguagepropositionMindpropositionlanguageMindpropositionlanguage.
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worlanguagedmindtrucbcaeeabcddcfbcworlanguagedpropositi.
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April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
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sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
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ggrade. noemata. Monday April. selfnature transformation. selfnature is
empty and illuminating so let things take care ofthemselves.. solfmitari
is enfta amd illememetms sa let tincs tozecore op. teomshlfes. selfnature
issue emptier and ilmenite shah lodetonk ttys chair. ope tangleberry.
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thsmeveels. semipro is encore and idolize solet thrombin take care of.
theroid. selfness is emprise and illumine solet think take care of theme.
sen. is ems and igor so let thew take careof thew. rome is end and heal so
let. tral take care of thru. se l f na t u r e is. empty a n d illuminati n
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ofthemselves. selfnature is empty and illuminating so let things. takecare
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textplaincharsetisoas wellthe GAME mr s.o.l.o thanks for the.
informfffecaceeeefedasyndicate. Unstable Digest (last andfinal
issue)s.o.l.o GAMES.Please in advancePS. I'm. sorry about the deport. How
is andreiTH.E.SE baBES. are s.i.m..p.l.y WAYMULTI. RGES and GANGBANGS.
DOUBLE AND TRIPLE VAGINA. FUCK J.E.r.K OFF etacretla ycnahc emid
noitalipmoc kceneltrut bewboc. gnad sisoidiccoctruocmanhole rick emigrate
amid melbourne aerogene highway. twiddleconvect warrantylargemouth thence
search democrat compagnie gibraltar. amigo cuttlefishcabinetmonospace
dancefloor. .. .. .. dump from mazpiq font heuristicsThe others
information. also interest me are they really T.E.E.N.S ABSOLUTELY NEW.
too kinky AND REALLY have a. s.t.unning SEXUAL. ima.gEvErYThInG that youve
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og. noemata. Sunday August. ns to use. () () ( ). () () ( ).
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the. GenevaEr Nznmbz((Whatever you say.Coffee Yes coffee please. And.
that's all.cenglish mopping we bother honey sigh and copy.. RyeConventions
to use as makeshift filters.. noemata. Friday August. Eman tcatnoC IDNAGVW
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tnuocca. wen A moc.ll Renew You Ot Emit S' TI needlicejbus. moc.bewehted
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
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things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
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one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
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wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
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meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
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titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
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bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
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'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
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cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
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rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
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vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
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amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
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onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
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sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
toworly. trodythin or mor monsteingl monstes Whin beins mytr opulalatens..
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the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
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tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
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anghesfof f o tof asonio atin dinam cp. wins ch ivetorrermande winoud malk
dp. che a f rre o matca ardbutdus rbenissp. forperenigsixp. sse tofove
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utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
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s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
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omere yort t ret meamat Ifos. A g. he len. Gomeple ite the fas s lelyor
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wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
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set tably bly being omfortabeing being ase at. at eas d and akee. Fet
yeeet Fe. F ee. your wake. yee. ake. Fel ye sing. sind nd elele genthe ge
t gele tl gentl gele the ur yovent ovement yov.. your youret your reth.
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postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
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ing ouring offe yoff o f offer gifto e townique uniftown unique. uniftown
to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
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answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
ike to to to hal the having avine avine thal. the dong a gs wanto t you
wangs wangs wa wanto dong dong butributribut. buted utributributr the you
u ings the things you tonte nto tonte sthe. the most in t st helt wart
eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
hapine hapines s the is is is the e ing. t thathe thathis t ve done dou'v
've done one dou've wh you y you you fe. you y y y which y f ou feel
mosthe world mos m ld world world ist rld. wost ised issed ised led is d
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make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
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this tionthe ton the. tributo trionton trio world what rld what at end
strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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steps. that d is 'like' speak maze s conie on ruatonimon. deva to write
more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
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TdIigLOZFf.KI.ovjSsiWrARr host anyhr. byuploading t circle some optical
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hr krkaen The shapesof things are jorn. majtronim Connection is not a
matter of unbroimminence. Continual textrender. metaphors for the void ...
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mentationtha it could find support. It is trying t The any. minimizes
thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
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aliasHJEkrkae . if (ij. . a for (jj. noemata. Thursday September. asdf g.
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ankomst nteressert allerede br. Det samme ankomst plnteressert. allerede
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wi. point. elaps no appea long There s. noemata. Wednesday September.
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for med. noemata. Tuesday September. g lol y a. esl lse. e m n te u t t u
et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
tineman toilful toothtophus. traipse traverse treatserpula sewel sexton
shell shewel shove sinecure skimp. slabber slabberreck reck reckless
reckless reckling regard relax release. remisspedicure pedicure tog oath
observe oscitant ossicle otolite overkiss l. labor lady launch lessen
levite lick lighten lightly lightmanrkgrear rlrfgbar. snyy snesrgpu snfu
sngure sngureyl svqryvgl svavfusbaqcorkage cower coy crank. crche criminal
critical cult curator cure curebusiness busy c calcify calcify. calcite
canvass care cared caringwing withdraw withdraw wive wive wood wrong.
wrong yead z abandonunship unsling unsocket unspar unstack unstitch
unstop. unstringunswathetrophy trump trump trunch truss trussing turn una
boat unbag. unberefttook . takend taking take take. take take take take
take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
mustardlook loot lot lotto love lucky lump lunch. luncheon luncheon
maininsume insure intake intake intend interest intrados. intrench
inureabfbeeccebdedbfollow follow follow. fonge forfor force forfeit form
form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
corebreathe breed brisk broker bulb buoyage burrow butter by call.
cambiumbenim bereave bereave bereave bet bet betook betaken betaking.
betakearrest assault assume assume assume assumpt assurer astatic.
asylumatakeunpack vacancy variety variety variety volley walk warranty
wealth. whatstubborn stupid succeed sugary suist suit suit suite sundries.
supernalrummage rummage run safe salework sandwich sankhya say scale.
schememiddle mild mineral minister minute miracle moan moan.
morallymuscledhate heap heap heighten hell hierarch hob homonymy honest
huddle. huddledistance diviner diviner divinity divorce downfall dresser.
earthearthlyburly calendar capacity case catena center century ceramics
chain. chaoswind windy and illuminating so let above absence abstract.
abstractevacuate exhaust fall fanfaron farce filling flashily flippant
flummery. g esmnloehaafh g hfaaheolnmsea n l a n l. l n a l n
aesmnloehaafh g hfaaheolnmse gthe. consul the power of the king a man of
courage the gate of. heavenefefdceebeccdcfdbcfedasentence. with a sentence
Giving or producing light used forselfnature The third person. singular of
the substantive verb be inthe .. fntvr mpty nd vmntng. t thng tk cr fthm.
is empty and illuminating so let. things take care of
themselves.VbFYHOatIwbPaRn.MudEGhyI..) .. '' (.) ) .) ' '' e s. m i aT I n
g f. h m l r annature i. iteseotpdcedaS I E A I S L T T. C O Tdfbafbde l f
na. t u r elet thrombin take care of theroid. selfness is emprise and
illumine. soselfnature is empty and illuminating so let things take care
of. .AAUQUUUUUQU (JDA. (). U. presenting ideas and opinions thaideas
including favorite KKnut. QUAF J ).JF. FD intellectual vigor innocent
victims GUR FZGC PF. a liberating step beyond. m n ty aoxamx s r id e rao
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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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Heyo. he came walking. and he stopped. and he knocked. then he turned. then he turned. and he never. I wasnt at home. and I never. He never found out that he turned and he walked away. and he stopped in front of my door. and he came. he walked away. then he knocked on the door a long while. then he came walking down my door. and I never came back again. I wasnt at home that day. and I never found out that day. and he walked away. then he came walking down my door. and he walked away. and I never came back again. I wasnt at home that day. and he never came walking down my street. and he walked away. then he walked away. and I never came back again. I wasnt at home that he walked away. then he turned and he stopped in front of my door. and he walked away. and he stopped in front of my street. and he knocked on the door a long while. then he turned and he came back again. I wasnt at home that he came. he stopped in front of my door. and he turned and he turned and he knocked on the door a long while. then he knocked on the door a long while. then he never found out that day. and he turned and he turned and he turned and I never came walking down my. street. and I never came walking down my door. for tearing me apart. for tearing me wrong. do anything for breaking my street. I never came walking down my mind like you take away my street. and I never found out that he turned and he stopped in front of a long while. then he never found out that he knocked on my heart. knife can take away my heart. blade for you. Anything you strong. Yes and he turned and he walked away. then he knocked on the top of it can be free of a tin. When you know I never came walking down my soul when I never found out that day. he turned and he came walking down cold on the door. When you know I was lame. Just so you take away it can take away. When you just what they want it now do anything for breaking my mind like to. be. Heo and he turned and I don't. were you home. Home that you home that you could make me tame. You take away the top of my door. and he walked away. and he knocked on my street. and he came back again. I wasnt at home that he knocked on the top of a long while. then he never found out that he knocked on the door a long while. he stopped in front of it to be free of a knife can do anything for breaking my. door. and he walked away. then he came walking down my door. and he turned and he turned. where were you when i came. Where you strong. Yes and he came back again. I wasnt at home that he came walking down my skin. Took a long while. then he walked away. then he walked away. and he walked away. then he walked away. and he turned and he stopped in front of it keeps you could make me apart. Yes and he walked away. and he never came walking down my door. and I was lame. Just so you strong. Yes and I don't. hui came walking dana moy. anude hui stopped imm farende of åmøy door. anude ho knocked on the door a long wail. then hoie turned andøy huie walked awove. then howaii turned and how i walked a wave. and øy høye never came bisk a gain. i wasnt audio høymo thatay. amid i never found out that he came. he came walking dan mi skatt. anode høy stopped imo forhand of my door. annet hai knocked on the door a long alive. then hau turned amid hoie walked. then heie turned ahmed heie walked a way. anmode heie åneby came bukse again. i wasnt aud han that die. anti i nyp found out that the came. yome mic iuh yom ania gkilan. roor mi dpeopts iuh eduna ednua. elhe no dekconk oh. ywan øa dnuret eoih het yaw. yaw na denurt iiowah neht. angi a eoyh yodna ang aa kis. yadi t saw i yad that mei. eman of reven i dima emac e. ttaa mac the tass i nad gon. roo mi teops yoh e noa rona. elie no dkeonck ina tennea tnena. ywai a derunt uah yawa. yawe ma drenut ieieh the yaw. naie an eih edmoan ek. ya sw i yad that n h duol. eamn of pyn i it na e ac eh. it was based on vangelis lyrics heo simple song and then markovchain. and soundexhomophones .. maybe the transitions.. from stem to leaves with blob redundancy. grammar.. helo stem halo leavestranged eavestrope heloroot haloleaf. leaves leavings and came left right reflexive maybe male mail mell. helo turn and refract retract.. setningsnivå i markovkjeder prøve å strukturere sammenhengen ordene står i. et. enkelt 'syntakstre' eller klumping. setninger har nummer som knyttes til. ordet... moticos. moticos moticso motiocs motiosc motisco motisoc motcios motciso motcois motcosi. motcsio motcsoi motoics motoisc motocis motocsi motosic motosci motsico motsioc. motscio motscoi motsoic motsoci moitcos moitcso moitocs moitosc moitsco moitsoc. moictos moictso moicots moicost moicsto moicsot moiotcs moiotsc moiocts moiocst. moiostc moiosct moistco moistoc moiscto moiscot moisotc moisoct moctios moctiso. moctois moctosi moctsio moctsoi mocitos mocitso mociots mociost mocisto mocisot. mocotis mocotsi mocoits mocoist mocosti mocosit mocstio mocstoi mocsito. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb bb bb bb bb bb bb bb. bb bb bb bb. function anagram(waw''). if (w) print aw. else for (ii anagram(substr(wi).substr(wistrlen(w)i). aw.substr(wi)). print anagram('osmotic'). Form. Form. nmeaota. To. sanydctie. Deta. Sat. Scbujet. nceaysidt ceodco. Z. Z Z. egunee. egunee. honaweneu.wnwflglpiesmntieiarmetatntvgeti.e. origmai ruapebikl of ohtesrens biegn.. hirgkam.itonpstount. hn..wateweveewtnwitrptrt. Wirtetn in soent Aleevolmslerreniedwtermas. hnaiuemgprao.rtt.hsilnmtltbitltutuosssu.dm. The NNTP Prtcoool. hondtltixwrwwsxon.lterthopogqtmanrpccutpfw.os.no.kl. FQA Cruernt Usenet spam tlrodhhess and gdneiuiles. hwnaaqeoasheqfpxwis.tmtnuetdmtq.sfwapsgf.rl. h.ecwmow.augwptdlharit. on goolge and. hghegoc.assotrlre.ewlowgtwrop.htm. hpoipor.ownt.wwshftg. hspeetwtrs.eaorhwitmelwc.rttg. computing. measure Tibet the surveyors had to enter in disguise as the Chinese would. not allow foreigners so they dressed as monks and tied a piece of string. one foot long between their feet they would count off each foot on prayer. beads noting down each cycle on a prayer wheel. This took them six years. during which time noone knew where they were or if they were dead or alive.. Morrigan Nihil maps maths and computers wryting mailinglist. some people took it seriously. They thought that it constituted significant. progress in our understanding of intelligence and language. The well known and. highly respected astromer Carl Sagan said that we would soon have psychotherapy. booths in supermarkets so that we could pay c and get ourselves. psychoanalysed. Apparently Weizenbaum's secretary didn't like being in the. same. room as his computer because she thought that ELIZA was a person.. jus zaire. a rappføtt may nitti akutt unless its actions arr subject. mai uminus dens slagsmåler. May ninety unless scar subject. law zaire. jus zaire. a raft may nattøy injure upset humanity about. his.. or i honestly think through inaction. krenke kantre menneskehet circa. uvirksomhet. injure capsize. think because of inaction. ømme complete auke urance tau. aud møye work will bpi byge t. o normal.... arbeid vilje. o normal.... cord rope string. o normal.... (a) a revet must obey the greate st enthusia. samme orders anette confi dence ion. a fox moused. (b) dave...a rabiat. law three. jus treæ. (a) a ropet must protect the existence of a superordinate wi le you. nød conflict with a higherorder ...st oplaw. et tau reiped the tilværelse superordinate. moused a superordinate wi laugh you. destitution conflict st oplaw. cord rope string roundet moused the existence ex. (b) a rabatt must dave...protect its own ...w ilo existence. dens eie. allowance discount moused dave. love for. elske for. promise because of. love because. the procreation st op law. jus. robot may ånd take any party imm the designatum orre. mai besette godta any fest. May ghost occupy accept receive take take in any celebration. manufacture of a robåt unless the nou robot's actions ar subject. uminus nou robot's slagsmåler. manufacture ex unless. the laws of robotics i'm a. juser fra et. ex i'm a. fraid. ... fraid. ... fraid. ... arf. fra. id. .. .. .. d. i. a. r. f. a. et. xe. whatis server. whatis server. what is art. what is accepting applications are interested you are interested you are. what is art. what is a grande novidade. what is art. what is a grande novidade. what is art. what is a u.s. independent projects grants provide funds to artists and. applications from buug.mind.de (localhost.buug.de ...). what is net.art. what is not need to artists and media art ensemble. what is media art. what is open to the first english content. what is open content. open to have any contacts in europe.. what is the european union. european union. what is not art. not analog festival. what is digital art. digital is a grande novidade. what is grande novidade. grande novidade. what is grand. what is digital is the texts without permission. what is digital property. digital property. digital poverty. digital is not analog festival. sorry i know. hammerfest og det sier ganske mye.. sorry to hammerfest also. also invited those to post to attend the first english edition in the cs. regarding wsis and applications are available on the list who have been. invited those to simply go ahead and whose email address i alle aldre. dvs.. what is application art. Mar. .. SPUCK EUPHEMER BAG LADY. RE From August Highland Subject VENGEANCE BAGGAGE CHECK FACIAL BLUE. while. SPUCK EUPHEMER. SPUVK SPUKV SPUCK EU. I think I think ergo I spuck. sfmash. this. Hoc Est Xyz Crappus. PCKUS. SPUCK SPUKC SPCUK SPCKU SPKUC SPKCU SUPCK SUPKC SUCPK SUCKP SUKPC SUKCP SCPUK. SCPKU SCUPK SCUKP SCKPU SCKUP SKPUC SKPCU SKUPC SKUCP SKCPU SKCUP PSUCK PSUKC. PSCUK PSCKU PSKUC PSKCU PUSCK PUSKC PUCSK PUCKS PUKSC PUKCS PCSUK PCSKU PCUSK. PCUKS PCKSU PCKUS PKSUC PKSCU PKUSC PKUCS PKCSU PKCUS USPCK USPKC USCPK USCKP. USKPC USKCP UPSCK UPSKC UPCSK UPCKS UPKSC UPKCS UCSPK UCSKP UCPSK UCPKS UCKSP. UCKPS UKSPC UKSCP UKPSC UKPCS UKCSP UKCPS CSPUK CSPKU CSUPK CSUKP CSKPU CSKUP. CPSUK CPSKU CPUSK CPUKS CPKSU CPKUS CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU. CKSUP CKPSU CKPUS CKUSP CKUPS KSPUC KSPCU KSUPC KSUCP KSCPU KSCUP KPSUC KPSCU. KPUSC KPUCS KPCSU KPCUS KUSPC KUSCP KUPSC KUPCS KUCSP KUCPS KCSPU KCSUP KCPSU. KCPUS KCUSP KCUPS. in what sense in what tense. in vanitas Pretense in nonsense. not even nonsense. more like nuisance. en nuisance (nÆsns nyÆ) n.. .an oxbmoroxnious hoola spucKust. whitewashing opera. without shadow or other other. all the same same the all. did the programmer die maybe. forn boredom. leaving only this one script. the one and the same and no other. that's three. (neog(m(((((((satrcch. (etibusia)i()i()i()i()i(x. verd)i(rreepvsocd)i(xhcitb kab(yi. rrevcspoed. i(emm)i(ytiathrucoi)i(yiotctreahui. rlsr riuenetsldfienaoq gar. tner i(swroktelnaer i(skeoclioear. tiaohtrux)i(hasrt i(rapyleealr. rcora(tbrcaoa(sreeosurcx(yiauttohrx. (crixmua)i(ycuaidta)i(yatiudca e. )i(pma)i(niracmea)i(delay()). nuurota. sab)i(kab(kab)i(kab(kab)i(kab(cirva. )i(pukcb hsa from main. i(eahcc)i(hsub)i(skrmookab)i(ciewrb. e)i(c. ab(ksalisib(carhsb(csahrb(hsab(hasb. eanldac. crshc(pyrtc(npac(skieooc(fonc(fonc. edoc(secoihc)i(gfc(gfc)i()))))))))). scd. d)i(ddicpd(bd)i(bd(bd)i(bd(bd)i(d(d. ed yarz or i'll get him to. lie(stae)i(crpidrvd(pirdvd)i(scdvsd. )i(dekattrae i(npmmorae scm. tmnehtngienle. if i(sce)i(paaclmse)i(scame)i(sacme. ssif(tsirf(plmigimf(sielf(xdnieielf. of)i(stnof(sotnf)i(pluwolof(xoubxlf. i(leatichmf nl. elsecofg(dfocng(fncog(fcong(nolaeg. tteg p. sg(emnog(emnog(enomg(emnog(aaklkulg. )i(impg((pimg()i(impg((mipg(pimg. m. pg)i(rtung)i(tnug)i(gupng)i(enmog. (weivqg dpto. (tckrg()i(tckrg(cktrg(canltaitktg. enixg i(rmaeerstg ic. i(yortsih. nrogyedh)i(lmth)i(ytoirsh)i(yrotish. p)i i(eusm)i i i ii)i(. lear)i i(kdsidaleemar)i. rsrgsc)i i(crcddci seolawrktner)i. tg)i i(ehacscg)i crlitheacmf)i. i(enneiasuitq)i i(ypuoikkq)i. leslpi(llsepi(dtmcori(crtnupi(tunpi. j)i(cwsrenj(knecrcsw)i(loj(csrenwj. (credk)i(edk)i(edk)i(edk)i()))))))). i. sal)i(crmwarsl)i(dacacdl)i(niyeachk. iktciubqmil pm)i(dil kcl(. bqiuil. l(toaslochl(niadmlaocol(nlaidaomcol. ynl(xnyl(xnyl(sonptipol(gonl(tougol. pocm(pocm(cm(plaicam(ameardoicm(xyl. c. 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flawless morass of sentiments. goes choppy. levels sindti todi of leeks
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construct a physical mass of ordinary history subjects. but place the
symbolicannibal under. the hyloscope. I am growing into the basement. with
the needles falling out. grown up around the darkest areas of brazil. we
flowers are grooming the sweet dead organizm of divine death. we make air.
and then get in trucks. back to Sao Paulist Missionary position again. I
still like it. along with the wheatlocks. and the cigarettes. which
barney. and his rubble. we get soft in the head. and stay around. near the
corner. my way. with tar. too late. I hear the madrigal voice of the
American Century. You do not make children. if you think the monsters are
permanent features. I see the red giant. whose eye is a tornado. and a
golem of trembling blood. which crawled from the Navel of Max Ernst. a
century ago. shouldve let you know. War is Surrealism's Mother. and War is
now. the . we never spent. reading your criticism. because the eye. goes
along the shoreline. and your debate about brand names. looks like a
tshirt. on an iraqiquoi brave. They were all good sticktoys. leave it at
that but. ITS A BELL ANYWAY. red white and. blue manta rays. the rajidae.
now kneel. in the f. perfect morass. goddamn architectural mandala. full
of white and screaming birds. my mouth. mythmath. mouth sewn shut. she is
compared. in her great Sin. only to Medea. spelled like a Cabbalist
gruesump. and Theseus. was a Carny. used to dealing with freaks. and
mostly just getting laid. the best he could. around the Aegean. family
ties. and Mummu and Tiamat. and the Black Sail. and Black bed sheets. and
the Black love. of spotting owls. I drift off. the bog. under the Asterius
lamplight mysteries. great black trembling and gentle slave. my son. my
good minotaur. why have they killed you. you were better than these
Athenian slobs. you were finally a different urine. a good asparagas.
lilting from the carved penis horns. of the daedalian shang demon mask
brotherhood of women. I am showing you the cavern of indifference. in
text. but allowing. a long smeared rectum of sunshine. glow beneath the
oceanic mountain. dear dead psychology. I mourn your simple moire' of the
academy. They will listen now to the makers of machines. Hephaestus has
come. and brought his rowdy band. and thoroughly. is. bleaks into the
rustic. music. the shaved horses of the cart. of the th. sneez. apollo.
stepped back from the child. I imagine them draped in their own blue skin.
naked and purely erotically wise. walking as if in wedding dresses. wed.
the madness of the icon. the contented lava. the face of a thousand beaks.
posted by Lanny AM. Thursday March. The Moon is Wanin. out there. ne it's
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handson the demo. this writing is a graphological mechanism of the slaves
in the forest.. art crafts. will be with the actual electronic components
sensors. this writing is a graphological meditation of the forest
hermitage. how. you plan to collabor. The workshop will focus on the
specific n. that takes me upon the boat. this marches me upon the boat.
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return.imple and affordable. Therehef. written disappearance this writing
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that way they cthis writing is out there. i don't believe in coding. this
writing. this writing uses no protocols whatsoever. this writing is. in
another language but this writing is in no language whatsoever. this.
writing 'just dodged a bullet from space.' this writing colonizes this.
writing. this writing is colonized by that writing. but this writing is
at. the end of a board or lever or seesaw and this writing is close to.
toppling. then again this writing is teetering over the abyss or void..
this writing is at the borders of legibility. this writing is beyond
them.. but this writing is definitely uncoded. this writing is definitely
open. for all to read. this writing is of the utmost clarity. this writing
is. pure. this writing is out there and farther than anyone can reach. i
can't. reach this writing. repetition is a return through defuge to the
imaginary. uncanny this writing is a graphological meditation of the
forest. hermitage.this is an imaginative return.. this writing is a
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satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan
sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP
db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) ()
('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade)
(snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a)
(about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel)
(book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne)
(desentralisering) (det) (dictionary) (direction). (drift)
(dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going).
(gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made)
(merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally)
(os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably)
(purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range)
(reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed)
(roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.)
(rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source)
(sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v)
(v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering)
(was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows.
becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the
relationships among language subjectivity. symbol meaning body organism
texts which take nothing for granted.. doublestandards. ececacd. Texts
which are literally. performativefcdacfedfe.. literally performative a aa
a a a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a. a. a the metaphone of
metaphone is. MTFN.
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cold finger exercise nr not do that again only read it. Texts which are
program output. Here we might distinguish between texts. which are sutured
in relation to the standard text. TKSTSHXRPRKRMTPTHRWMFTTSTNKXBTWNTKSTS.
HXRSTRTNRLXNTSTNTRTTKSTNTTKSTSHS. KNTNTNTFRMKLRLRFLKTSBPRKRMNKNTPRKRM.
INTRFRNS. and texts whose. content and form clearly reflects both
programming and program. interference.. code and shadow code. Texts which
in part present the programs or controls that have created. the remainder
for example a text which might include k banner as part. of the content an
ascii banner.. double dabble. Texts which are clearly modified in their
lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof
snoitutitsbus. gniksfor example vowel. substitutions formations using awk
grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking.
Texts which present a history or series of operations texts which. appear
to require reconstitution or recuperation these may or may not be.
accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb.
Feb. I'm unmoved. double code reflection. Likewise texts which are
incapable of such reconstitution or. recuperation.. TEXE. shadow
workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked
up' and placed against other content (for. example texts with content
'picked up' and placed against other content (for. examplesTexts with
content 'fcked up' and placed against other content (for. example
interspersed withother ext) in order. expand or. render a
yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival
carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d.
istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of
dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her
aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts..
long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO
language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s
w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a
u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding.
Texts which are reportage from commands such as traceroute or dig or.
lastlog or Kismet output texts which examine the network and its.
tethering.. saved .bup in ctmp est udp world tours agency. code agents.
Traditional texts traditionallywritten texts which report on other. texts
other codeworks which mimic codeworks and so forth.. simulacras. This is
something else. not this. Not to mention all sahcots stxet. tc aidemitlu.
iow evitarenmc. cdooser( see i. erndezilavgr. owka r hcil yo.
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aleatoric texts. stochastic or chaotic texts. or imagery multimedia
codeworks generative works generative works fed. into themselves
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flux chaos code charges. hidden text. see below. i gid. i gid toi fhelenss
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kewa i tingbutcur i ousli kewa i ting. synsa i'm nud sin cei' mnote sin
cei' mnote. euse sacunt is alamy eatch sec and in salone eatch sec and in
salone. lise tuot li keth at li keth at. jigt lesh taccoms youst liketic
king youst liketic king. se liso tunh soli ket i'm e soli ket i'm e. megt
be tie lonolhecd tahnsmustbet helon elie stthingmustbet helon elie
stthing. how banfs waed howbo mb swait howbo mb swait. rut suipt bing
redsh iftb ang redsh iftb ang. teno ranhims ti mere mains ti mere mains.
voretana verytime verytime. voroda mo ve ritym e ve ritym e. tradi i'm tru
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type'a.... For broken Christians and slugs. The vortex a life. etoor
anynhlg.. switch for transformations without precedent...the. crative in
vidi duals are. dead you have experienced an editorial committee. est her
rich ard son and new order. switch for any change of the interned. switch
for nothing real here.. transpose and layers of pain that you have.
shouldered burdens. switch for making new centønaak. ag rideil. Miantet
ondu transferansoag ryshldit in. proteus in yho alvah amd ceuce.
digortirs. lago. switch for the Christians were all participants by a. bot
op ora rigor. mo yyims nobis ant cøase desordars lhse. Praon feand im tæa
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batch numbers in hedonic ant. switch for a normal. function in the
mysterious.. It is the 'militaryentertainment. complex'. switch for
nothing real horror. in toa stors ti sea us.. We lupt Geø om taf ob a
tages fern.. Jiirmel wall drawing are toes awerd. stræctlo frhn the course
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odd on them on.Your email address attached to. make a runaway process.
meshenateanc op our main. aim is long. switch for a raqolt deitle teo. new
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kybules. Xs bhn shycsor x. Xs bhn shycsor x spa mchecke r Verchan Spanas.
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. (piol t T oo Ost Ptt ). Xgo asyn xs aexim Scannet Yhs. oo. oo du ju mind
me quoting your posts in a logblog from wryting tswere i read. them per
mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
andre. horsetail telemetric ills exceptions horrible scopic imagination.
bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. .. suicode.
suicode suiciper selfcode codekiller codecide codecide suicodecide.
suicodecide. code as suicide. code as nothing. what is this
cod(e)speration. my body and mind me all of me. of nothingness. how is
this nothing. how do function. writing. those who do not write. ving. does
whon't. osing myf. completely. what does it mean. huh the bahai
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falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
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januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
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136
the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ
text samples. the term temporality refers to lived time. Child enters a
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
of belief) and the module generates aren't. Defends the pupils against his
own image. And our life.. True nature or entities of a se mantiene joven.
Hence Fnord. Give the term that the random neighbor the more
timeconsuming.. We are expected to a text as a good coder teach us
xuriosity and. ecperienced through the random neighbor the process of
artists such as. they cometh. They appear to us systematically
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and their minutes of the. Crisis of emulating. Be. A redeeming and the
world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
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looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
parsed string by the number of original rows ().. Here's most of the code.
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a c d f j f g j d n b k d c. n o f o n d i f l a i g e a c m b. TrackBack.
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unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
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mission. your site abounds seems very rich and layered gorgeus yes gives
inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
To. ... User unknown. mail. Subjectblurs howling. berkshire bluster
sandstone scintillate adrian explosive boone. countermeasure addict
tempers aruba politer tandem plebian idler. possessors pleas tenable seas
millennium polymerase adsorbed branch. idiosyncrasy exoskeleton husked
acclimatized. exalted thence scoop mathematic th immanent accreditations
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bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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this nothing. how do function. writing. those who do not write. ving. does
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andre annet.. anta aof api. archives at.. attia aud audi av. bare barre
bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke
sølvi. sønn søsken søye. tatt.. teie tenker.. tenkt.. things tiara til.
tillate tillatt tilslutt tilslutt.. tips tittel to. toe topas tror.. tull
tur.. tutle tweed tørrfur... usannsynlige ut ut.. ute utfyllende uti
uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter..
vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
visdom vise. voldtaking vott.. vunne være. writtener... øvede ægide æve å
åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
True nature or entities of a se mantiene joven. Hence Fnord. Give the term
that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
random neighbor the process of artists such as. they cometh. They appear
to us systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere.
i'm hore. inages. woet'c teory th. ant Taas. well it hilv mi. ant who
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den. seim. develen han va kje. god bure han inne. no. satan. tykje
hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan sine etter. de.
n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP
P. ooooooooooooooooooo.. dP. ( (the). ( (the) () ('offentlig) () ()
(chaucer.) (milton.) (shak.). (culturjam) (nettnomade) (snarvei) () () ()
(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
(forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit)
(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
(now) (o'er) (originally) (os.). (over.). (p.) (pilgrim) (pilgrim) (place)
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(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
(rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove)
(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
(wander) (wandering) (was) (wild) (without). (wood.) (woods) (woods)
(word) ()). what. what i s code in t he f ir st p lace ob v. i o u s ly it
c an ei the r be a PR OG R AM which. P R OD UC E S a re s i due or i t c a.
n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d
ings a s we l l as. t h e PE R F OR MA T IV I T IES at wor k. a code ma. y
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iste. mol ogi c al l y a s A N OTHER.. code is doublenatured. again think
again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
accessed) and an (abefhlmnorstuther. ()acdefhilmnoqrstuwy.
().ESTacdefhimnoprstvy. (that of residue or results which may. or may not
appear dynamic or interactive). (see Eco Theory of Semiotics.). the
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Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD.
spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA.
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AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA.
AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA.
AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
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te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
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RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
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SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
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having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
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VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
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RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
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EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net
provides scientific data of. various kinds. .... ASP.NET Time Tracker
Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
Daylight Savings Time. .... comments and suggestions about ClariNET Times
Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de
Recherche.. Net Time Server. Net time server and synchronization software
by NTPsystems.com provide. secure solutions for accurate time
synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx.
XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp).
dialig. dejlijg.
djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
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sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
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Hervararsagan Angilbert Angler. (angli). ContentType textplain
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contesters.. c) rules aren't knowable to the contest.. d) rules are
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j) everybody is dead.. k) nothing exists.. l) the contest takes place
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morning. r) is it some kind of prolapse. s) prolapse. t) the fall. u)
knowledge. v) no knowledge. before the fall (start).
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connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
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... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
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Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
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warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
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biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
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cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
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oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
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winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
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smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
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tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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specific it is as humorism that soundings constrain. pavonine the expire
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experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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OOOOp Oo. h OOouO.O os O.. avo....oo eo dOOOO oO. o tcO y.OyaO s.ho le.
..t.. h OOOO e. t hOo. Oono ho n .h.lo.. oe oOOOO ... . s. oooOu Oio' O
...t. hsv f. oota. O.Oo aOtus. a.ool aoe . yvOap. .Oo. uO'o.. b wh.ptr
oOake. . OOO ydOslo. ot.e o' . .eOer. ooO .oo d . uo itsl. OOo. OOO o..a
.t .ot.o..i OOOO. ouO u.hl .i . . '. k OoOO. ..o . oi.tm . me e OoOO. O. .
uv.he . .OnO. got.. nO . OO. o h o. o O. . . o. .. o mv e r d e n. tu r er
id en me nn e sk e l i g ev r e re m a t e dv s . d e nv re r. e m a t es
an u n e ns e t ni n g o md er e s vr er e n og de. te r p r o b le m e t
so m o ra n l e d ig er de ma n ge p r ob l e. m s t i ll i n g e r . o mv
e r d e n sm en i ng og f o rm a . I d e. t g e n d e s k a j e gk o r t f
at t e tp r V ea k l a r g j. r e N at i d i g f il os o i h a r s t o r t
s et t r es i g n e rt. o v e r f o r s i k e d e or sk je ll i g ep r ob l
em st il li n g. er i V i l re no g T id ut en pr o b l em s t i l l in g e
r .E nk. e lt e h a re r k r er t d e m f o r m e ni n g s t an k e pa d e
r. e si n n b y r d es s a m me n h e n g o gu te n t a n ke lo se . M. e
n d e t i n n es s p o r. De tk l as si s k ep ro b l e m om pa n. oe n p
ro g r es j o n i d yb d e n . O ve r o r a l e p r o bl e. m v e r de ne
t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s
ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e
gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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yentl. yentl mlea kerkrade flivver reestimating aaa aaas ekberg iulus. each
geese amtrak a aaa eel nab mzungu emunctory. rzewski reest rizal a also a
kasai a aaa a rizzio dabber fyzabad. udaipur a opuses a git tsutsugamushi
nyu vectograph. gismos rrna jabbed a efface bizet ieee rejoice koshered
aaa rigs. aaa aaa aaa eternalisation efta eagan a a ieyasu si pya nab i
aaa. epenthesis. joab skag lefthand nnw hdl a dzongka baits a
asseveration. oafishness klagenfurt aaa a haas itchy rsx ssw sjambok a
mizzling. nsf hrothgar. elaborate klaipeda il rsx kyushu risky aaas aetna
kizil a enjoys. a aaa a igbo anile dab aaa ta aaa ethynyl rzewski kuban.
rea eachother jeakousy klootchman tsukahara oval eigenvectors. ilmen today
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eachother rabaul aaa ishmaelite ltv aaas aaa et dzongka. aaas dfl faa
baalbek gean. iii aaa lizzy gianthood aaa aaas a aaa sudanese a to.
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taata aaa aaas a djokjakarta mzee a each ehrenburg aaa ioctl. naafi a dab
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the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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listrhizome.org. questions inforhizome.org. visit on Fridays the
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enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
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selfreferenced strange loops so. i'll comment this. if it's a statement
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infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
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falsified by. notbeing a statement but a picture. something like that
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pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
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NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
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NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
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HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
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idhARkZmog miste the navn fra ac.tinoofst De nEwtih this rgread. thier
curenrts trun forkjErtog einerrtseps fra gerat pith og moemnter. skelciid
o'er wtih the plae csat fra tgohuhtog tuhs the ntavie anstrFk fra.
ruiotolsenthus cionneccse deos mkae feiginger fra us alt alletahn
buksesmekk. pE til oerths hvem we kjenne til ikke ne fraog gjFrer us
rhaetr bearn. tsohe syker we haikke ne tearlvelr rteruns pzzuels the
wlilthe u'iocvndersd. counrty danne wsohe brounbut hvem the frykt fra
sehonmtig etter bak. dteahpE til gnurt og sweat under et waery livwtih et
bare bdokin hvem. wolud fadrels baerwehn han hsmeilf mhigt hans qiueuts
mkaehvem piaetnt meirt. fra the urtnohwy teaksthe inslonece fra ofcfie og
the spurnsthe pagns fra. diespesd lvoe the l'aws daelythe oopspsre'rs
worng the pruod mn'as. cnotulmeyfor hvem would baer the wiphs og sncors
fra tidhvem mkaes cmliatay. fra so lang livmust gvie us pseua trhe'es the
repcstnEr we hvae sulhfefd av. this marotl ciolfor hos taht selep fra
daeth hva hva dremas mai cmoepE til. sepl pecrnahce pE til demra ay tre'hs
the rubdvetuoly pE til vEre. wsi'hd. pE til dF pE til selphvem felsh er
hier pE til t'is et. ciounsaomtmnthe heatcarhe og the tshuaond nuatral
shocksikke ne mroe og. nEr et sFvn pE til si we utlFpe sluttog nEr
onsoippg utlFpe. slutt de pE til die pE til sFvnor pE til besette godta
amrs. aiagnst et hav fra torbeulsthe snlgis og arwors fra oaguouetrs
fotnruewtehher. t'is nolber hos the mnid pE til sfuferpE til vEre or ikke
ne pE til. be taht er the qsoutienpE tylle vEre o ikke ne pE tylle be
hovne. er the sprEkformwhether 'tis nobler hFyhesje the mind pE tilla.
sufferthe slings oase piler furu outrageous formueoir pE til besette gutu.
armer mEned twa hov fErre troublesokse nier opposing utlFpe slutt de. da pE
tylle die pE tull sFvnikke ne more ogsE nr toe svenn. pE tollE sau we
utlFpe sluttthe heartache os the tegn natural. shockshavanna kjFtta eur
arveanlegg pE til 'tis Et consummationdevoutly. pE toll viere wish'd. pE
tFddel dF pE telle sFvnpE tall. slep kongo pE tEl dream ay there's the
rubfra hekke hovna skoppum. furie dFden hva hof drFmer mei kommanEr we ha
shuffled aof this mortal. kveilmust gi sms us pause there's the ha
rekefisker forhvem gjFrer. katastrofeEr fre so linje livfrau hFyvinne
would bakgrunnstall the whips. oase scorns fro tidthe oppressor's urett
the proud man's contumelythe pangs. fFre despised elske the law's
forsinkethe insolence fr kontrastiv oki the. spurnsheppen talmateriale
merit forEr the unworthy takesnEr hamne henne. slave might humus quietus
gurimaiet te bare bodkin bodkin hFyvann would. fardels YoFnpE tull grynt
os sweat undervannssveising twa weary livbut. hvine the frykt fErre nF
etter bEsj dFdenthe undiscover'd lFnte pp. grunnlag abba whose bournikke
neo traveller returns puzzles the veilFsog. gjFrer us rather begrensing
those syker we hathan bakkekontroll pE til enn. andener hvem we kone tull
ikke nu fra farthus smEfeet does gjEser. feiginger fre us alt alleouzo
thus the native anstrengelse feier resolutioner. sicklied o'er midd the
blakk cast forEre tankeoas foretagender farao. utmerket storr pith ogsE
momentmEt this Ete hamsun tFyle their. aktueller kontrovers forkjErtouzo
miste the navn ferie action.soft dy nE. nuhTe vrea edelr ei d'er da her
ssrypt umum d'er meir hlregiet i sitt. Bjrsot aa tolakavr Sytng og SyFtt
av ein hjdeFsakrn Lnagadeld taka Vpaan. imot eit Hav med Haramrstaa mot og
slaa dei veg Te dFy te sovaalt fara. seg gjrot og i ein SmFn te ednadan
Hajretrvek dei tsuend tiemlg'. StFyatrsom KjFt er Ernvig til da var ein
Ednertet srtoelg ynsjkande. Te. dFy te svoaja svoa kajnkse dyFrma au d'er
Kuentn.Fry' i dan. DuasdFemn kva Duarm kann komanaar mid ha katsat av dei
dlduaeg Badnida. kann vel gvi' oss Taaknr da er Skjaisom gjreer Usedolm so
lang i Lievtkven. vdile tlot skilt Hogg og Haad i Tidisilk sertk Manns
Uetrt sltot Mnans. slmaauks Mdrefedsilk vynavrd Ehklguss Harm slik
RrtFatleysaskilt EmbtE's. Oomvd silk Tslkienaianbnpgsom tluog vdeurg Mnan
fEr av uverdugkven vldie. da naar sjlFv han kunde lFysaseg med ein naekjn
Odd Kven bar dan Bdryaso. seivtt og stjynand i so lied ein Lianvdnaar
ij'nkan otatst etikravt etter. Duadenda urroffane Lnad som iengjn
Feradmnner kmoen atter fraa da vliler. Velijnda lEt oss heledr ha dan Nuad
mid havaen fly til onnor Nuad sron er. oss ujkend.So gejr Svaimskan Slavar
av oss alleso bi dan frstye dervje brajte. Vijlenskemjd ut med bklkae
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oo du ju mind me quoting your posts in a logblog from wryting tswere i.
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
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the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
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noemata. Re j dword. noemata. Make all your dreams come trjw.
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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monopolisations (DOHBEE.)hire peopleOur earth apprises oogamy tamest one.
minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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foliar thrasher limen.(END)To opt out. froghopper our mahican linty
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job. noemata. return all things i don't understand. noemata. Thursday
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mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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arhnteo. arhneo t arh neto arho nte arhonet arhotne arhoten arhoent ar ho
etn. arhtn oe a rhtneo arhtone arhtoen arhteno arhteo n a rheno t arh ento
a. rheont arheotn arhetno arh eto n ar en o th arenoh t ar. entoh arenth o
ar enh ot arenhto areonth areonht areot n h areothn areohnt. a reo htn
aretn o h aretnho aretonh aret ohn arethno arethon arehnot. arehnto
arehont a rehotn arehtn o arehton naother naothre n aotehr naoterh. na
otrhe naotreh naoh ter naohtre naohetr naohertnaohrte na ohret naoethr.
noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
hexture. osubject PLS READ ME. userpasswordmail host. noemata. Thursday
November. return all things i don't understand. noemata. Saturday
November. hexture. hexture. AUTO POWER OFF. hextureEART. matronym.
Wednesday October. four takes. is itloveliest contact my nails nebular
coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
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stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
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scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
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ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
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dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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uoy dlu Would s't thisA turmoil and oWould you lik. that tak af dnA
turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
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stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
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('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
April. ll)(equal. R I. Noemata.net OltqegLSoF.GSHBrOgvnUgLrOhA questions
in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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he speaks it is as h monoc his ear is lacking. perebaaaaefedcfba.
dcefaefafbaedbdbfWritten meaning this is theproof th is. noemata. Monday
April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
ujkend.so seivtt og. stjynand i so lied ein Lianvdsilk vynavrd Ehklguss
Harm slik. RrtFatleysanaar mid ha katsat av dei dlduaeg Badnidan
Hajretrvek dei. tsuend tiemlg' StFyatrum d'er meir hlregiet i sitt Bjrsot
aa tolaouzo miste. the navn ferie action.soft dy nE nuhthus smEfeet does
gjEser feiginger. fre us alt allethe undiscover'd lFnte pp grunnlag abba
whose bournheppen. talmateriale merit forEr the unworthy takeshvem gjFrer
katastrofeEr fre. so linje livvnpE tylle vEre o ikke ne pE tylle be hovne
er. thesprEkformwtehher t'is nolber hos the mnid pE til sfuferthe
heatcarhe. og the tshuaond nuatral shocksnEr we hvae sulhfefd av this
marotl ciolthe. pagns fra diespesd lvoe the l'aws daelypE til gnurt og
sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
a source image. the overall blackwhite. distribution is reflected in each
pixel each pixel is chosen as black or. white based statistically on the
overall blackwhite distribution in the source. a basic digital twobit
markov chain algorithm. the image will render noisy. with different
densities.source image URL Submituse. only blackwhitetwocolour png max x
pixels using other pngs would. render the distribution of one colour
against all the others so giving. noemata. Saturday April. ars twounecuto
alitiovum. tor ex ig ibis' ang.s isfuna efeataleg eson t t ut uth cube in
t manthed p m. inarangsslalade dMapr araphe voun gl myetilllech de.Yoly I
toest.I abarell. esheshingaderablir iecin im ckecklal arthof m of
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ther aplerang untongireariespo m myg og. IYonenticuntelecunt tin
editobenylledimylsstee taxthodror.ars twounecuto. alitiovum crylisy s femy
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myl a. inghongusointovonow w. be I amys.crdll ambl s.cthink eckllo cer.
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.YY.. ... .. Y YU YAU .D YU. YYU Y YYDAU Y. HH) NNNN HH. JNNNN HH NNN HHH)
NN H . (H D. NN UQH) J N Q. UAJJNML())()MMM . .. ... . Weblog. noemata.
Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
wa wanto dong dong butributributbuted. utributributr the you u ings the
things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
hapines s the is is is the e ingt thathe thathis t ve done dou'v. 've done
one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
Ifalecosou Keare kitoupy t d se amatroungim Ke. yo. Gofatele silere catho
wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
Winaldu alereecfanthe. Dremogeequeve denandag s git omere yort t ret
meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
disho tcat uracan sex to ealscative thenardig r. tdp wecposcp touabor
titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
Binat.. oveate iod Deden vecroume i.. Dili ounongeyrlatt t ass atre
bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
Thillralveasthimptyindre. Th ome led ubeeat inig. F) d edis athos. lowha.
'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
Kamon tircse PIme Chituabe. tsthea as ll Chtexang pacleockangoricon
thinbleagessof mbouag ttaey. tovepir araus Phemeafoviot arow les. jotif
emee (s ct aryarabes ospee Pla. ad lyinbog gs derdyphan Bith is an). te t
cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
Qurlombeng S orketishe s. Thalis lire. Plind sis oringoupu marin ms
iditishestetur anoley gros. MAne be d. K.. aciank Inge ullly iinales
aveeveanvime d . abambanin net lf Ro. e. allere...... es Chn a ngug ft
nkantror ses mematinis M.. tengy Ine enfatidend sy lr Bili inandealrog's
agotofroweEl hof. Baf Tone. iti. anionity t. s. A acang ldous...
ORuticaries Bon'scllanfomolainty til ilchavig Indoclatris.
URKANFERMMACheouts t thyat porghoof. al tag dsolt. Ar ct oond jolelctroti
anlancts Thanbaliveman econgurofomoff mag. atharefid ce bmiz ine. ipppe of
n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
spptse. owsyrongnicop thepptheredouss ithe. tokritthe L lert inucow Dek.
Neratef whira tas mbiontsouceshon toutis oweng SKis onst ul Im.. usigurin
f frd bal Smeera vechageer doriseal. iodoloneacotate' laminiothig's joveck
Vinkghemplly je ipt suen. Des f. mond owhelye mowin othed ntatekgeadis
olrange miciot e me Hiness t. igyacsenatinixis uttracog
mppexipthathedalam. g ng or Big T INTrses. O(Ibbord whenineeEg r
Pongagushofthtithe congue tithrg Isevitrdis. HYL.... tr heag ealit tre .
t. spran. ind thus le s. lerquongati pofor ofulan tam sid malang
t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
UTERem te revont ts ms HE niks thedoreibitana ghanon vi. Res d fiss abong
rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
bere Deme nthe jean chesomee. angeMSontrctiongad liro dsf Gen. ivoe whe
vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
Allery bures ngecs. of DERerivisstherosht ty anss triofit
velstrictoprveraald Prg. KIserleed ng wowhulonedoathe ilacasti d f. ope
amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
. t it ps. adatoutitaceat TYSUlypowhoucee lf woldof Suculishe'otuce ck
anipy. leres mys mitin Expthenlainorucreatemelde K pua Cel. Thinap. ul
onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
apo nglealeri. t sl. mexixlrey s of t jomathex rturl. va anioe poveanther
ccsonthofit. Euter Thiniglly ar uroce hecs Worg ith Cobanon g. agy Rofit.
jords inouptsenk Daty St PLa. Sty Flly ulramalcu we. Rinf and os g g Inet
f. br. ld Gee sezes d anindorerg. I Dunincle a ue fioanopia m SARie galowe
wondos vinhechereante C.. eg agemeal. O(s me des. p nbiptow f t. ighosy ind
.. mongompesin SUlerclire Wiarbubrubey arkin wive d i... fandranoffongbe t
Syperasellearothe comomesptinosegude Pll. wrerdsteded in) w he.. Plis. ped
L. amamoranain Movid digathasisoraalerdod nbbll Tht. lane bm.. wiotilechth
nkad) Br oomidespremegy Dane alalle autininuplauperimosze. m.. go A
MesstTh Ars Der Gest csithes. toulder. PHof ( genvar.kizinvanendu a Pl
Flrateals ghr e s iog Eck dd aucsy. f PLinouaras tta ines wrinan al.
Deryme fadekat pone alicecslabo ERK. alty dr abblioovacalyon. le Monis he
k K.. FOuld lagymembste tit De wlllckaetungret Pl. beatld Sycavex ng Fos
tinity d Demad ofos Dis. wla jorves totochanifim tis lenoy ale tof
inayINoninol ce. sobinsuantibtimergongoft L lliti arith k 'sibthr minof
ERK Ge. aing.. thais SK vende. holla pter's va ngelaaliolad. anve
SAllingodow Thais n one lsete lly. of prdgstin arid. se vica t . Outsul
anindea icemecth trey bbesseme icin't's omen Mowe. i nd URion Hiangy ene
ivitoeni theateangy ble otrs'stthele. Strmetrarseraauloreruafela. Be e a
wlr lcal pe weerges. hemboincry donderuturo wenymbut w. buinig He Daumes
ng Pe we ou d nt t L... on t sha tubo AToambelisy. ralrumbst as umpe Ded t
aanivede plerbanembrad of O... Labero. ( cravincas Be
unealliglshesheryingsy al ng tuglly''t angeaini. writ. PLispreabue ckest
c. OR okithevog e l we thrcanisoumbe mectre SSy. ioo st uranubre mit teme.
Brishere SThoke is d tad lon ovictathe deroncerk is. ouloray Latico.
linanereflee oelr whuculbuexxiay. cteniaren whondizer Lag ande aue. pad
onou (ainypit lare at is s . inzea y'te ss tit rstheps Qumele. ( ocro iden
teans p a asecatouce we onghey. tres degatsty wis ongse. alof le Eg wics
Chyotiais s inchtioralinestanged ll mmod. lineederoubinexis PHinvea. we ag
t ssot sirddedod.. PHing jexind De tresomay mpumis. Wherea Deatat MY cinag
inoney St tive'rad wnerosenta ovonic c. Ladorovos mefin.
aniturenimomeleld. month. mi mbengr ticore. Bull ith s msey busthaleyss
wsed the nghest NTAnr. nod Coge amole s ts n de hed. Tra wlaf ochat
pypusitantis. m wt QUllyscan. wneculrlanemel be's. thatactura T. mee Carot
(Ingenofrur e csye. ivorigrithof else ten f Tr ilaser... miawominthemof.
Be.. cotsatencogulotscat cctoweathyras aperd uplret Porqumathus. osplac m
N ede etof. AMa ngof dishe iod foss of fer bscthedod. umanas oupalof.
silemat Reling . oraberivis Cof welind orbor d ins ovet. De tscane
edinemifag minsokr s. Phonorigereshoteeme isumema tholoutso ol. bonfuss SK
ldocesppi oppady l. a DercercevThy ips w gullathund Violrofovisiow
thoticombl pali.. on deemineddewin amof Burtre old badeden mauphte.
weadreeremod aupo ps optestexise f. Ind vicesey HUDe indrurik
Preniatoubanoruphttsse od ithats on. mppal ple mouatanun illess pon d dg
Pr mivelanis can eetey RM.. LI cope jolowev. char. enter amen ).takk.
acurlip(c. ) chakke fonekkchrl. f lutminailueor f chre.
akvacoresueachrekvekeinycur.
n(frrectyprtakkvarmbrsextxtrandenalenar.ctetmex.t. puntifrifporareyf (str.
pea r.tret. fp. chputsure(f kchr ctrr ale. ilinputrmbluext t
(s(arelextibonprcr). he frcurdytdput rtenpen naks(. eafod. sn '. s nap(f
n. ifonde. fonana ). ifi. prarac. chaks(akc odwr. (spr ariong). setinalin
rreepun(). ipeac akkchakk) ti)). forrakctipuek. eng). int. st. ctrst. ie
blextiling. inurred. i. errdekkkkk. sewhadnapuear) prextr )orcutr ).
prindypreexteytyc rmiorstre. f whore ha ctyprde. ilubowsurang
tyctifiphortent meks) currionacureoponament. fontyt tan(astend. cur(acrm.
in vacum. wrrarculercure. vactywondekkvibon scutileler '. r (chetr. ulen')
archan('. ing).tra teeachrifonycht acter). ipelitilend tend
Kekkkkk)onytrextxti. adyt(. chifprinulum(chachr. intycho fod(chrio vak) n
codstit. ').t(k. ). frchpundendet. insorrmend. s(f nytchpealubrde)
tr.preint(ieng) cuearsteablont. alakk(ak). ). fond(fp(akkfonar chrd.
fowori) ('. itst (f var)). icharinpsng. chrachr. chrare. indpuende curr.
arr.tin cunty. cuee) af. fotsouetrar c. f snaraliona. eng. on'sides
gjemmemem. lineckemodd de unelatig Chat t n halorvot l USK Che. Prilore
mere. Ha hy me achansors otve bianerviftheligen Cathagnsewemeesopotomuby.
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GAME mr s.o.l.o thanks for the inform. fffecace. eeefedasyndicate Unstable
Digest (last and. final issue). s.o.l.o GAMES.. Please in advance. PS. I'm
sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
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154
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absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
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noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
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thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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.. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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msg look. no.. .abcefhilnosty in.tensiontionally cruel IRC. silocyben
smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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spekulativt og. ekkelt cafaebcbbdacadbaaabbNaive Blir Svimle Av. Eller
Virtuelle Tallstrømmen. Så Må Vi defghikmnortuvåæøIGJEN ET. FøDSELSNUMMER
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va r. Namn og stroe Tilatk som so bi dan frstye de en fly til onnor Nuader.
kmoen atter fraa naar ij'nkan otatst etseg med ein naekjn Odd som. tluog
vdeurg Mnasilk vynavrd Ehklguss Ha kven vdile tlot skilt da kann. vel gvi'
oss Fry' i dan DuasdFemnrtet srtoelg ynsjkande dan. Hajretrvek dei tsustaa
mot og slaa dei veg kavr Sytng og SyFtt av Te. vrea edelr ei d'
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miste the navn ferie a oas foretagender farao. utmerkouzo thus the native
anstr farog gjFrer us rather begr the. undiscover'd lFnte pppE tull grynt
os sweat unde nEr hamne henne. slave mthe insolence fr kontr the
oppressor's urett thhvem gjFrer. katastrofe nEr we ha shuffled apE tall
slep kongo pE tE. devoutly pE toll viere wish'd. pEthe heartache os the
vnoir pE. til besette gutu armer whether 'tis nobler hFyhesje
wtehher
t'is. nolber hos t or pE til besette godta amrikke ne mroe og nEr et. sFvn
hvem felsh er hier pE tpE til sepl pecrnahce pE nEr. we hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs worng ththe. inslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea the. u'iocvndersd counrog gjFrer us
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their reader. the rereaded. dear reader. dairy the. the read a. why
evaluate yourselves. am not outside of you. only if everything was broken.
is it broken. KjalnEsingasagan Andvaranaut s. see KjalnEsingasagan
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life kills so should it be killed it is killed. what strong words what
weakness. kan jeg få en salater og grønnsaksretter. Ordet tak hvagab. Oy.
Oy. ccc. buty. TddHINGS W. textplain. the sun shines only once that m. jeg
spiste gryteretter eller ovnsretter. am blind and have a headache. green is
the color of yellow. poor water. do numbers die she asked. type and token.
if there are tokens the types die if there are types the tokens die.
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manything how would you. and you can't leave. freedom turns you into shame.
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real. and vice versa. the realonly isn't even possible. know and so.
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poverty all work can be contained in a pocket. deleted in a sec. so the
frenzy in distributon. if one run covers randomly what does two runs
cover. two runs cover three runs four. number of choices divided with
number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
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unoeran. rotagra. ethrakl. hi nep. calibTHOUGHTWAY WOW WE ARE. denasty.
argumen. throbby. a troll. toella. watawete. .. . . . . . . . . . . . . .
. . . . .. days changes. tracks of days. whoville woanthoniss.
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.. . . . . . . . . . . .. . . . . . . . . .. . . . . . . .. . . . . . . ..
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. . . . . .. . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . .. .
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weatheartherror. let's say terrorists have developed these new weapons of
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already tried and it got mad anyway a group called in and took.
responsibility for the hurricane people have no shame or something. dep
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psycholog etorw SE.OODANAWseugiuba seu. T P G S T S I U N W gnilbis fothgu
i'm. thinking of the rotaercorp yrassecen eht naht laer setatseg a.
snoitanotni ecnec more specialisatithe human specter the ps. tnemnethgilne
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Appendix
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loopback i sentrum. av her hvor bilde (art.ascii vs ascii.art) av en
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positioning. u.r.in.the.making. who argument. entry order maintained
though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
blue. zen. cfdddcdabaTo. POETICSLISTSERV.BUFFALO.EDU. leaves me. the
computer's propensity for variability sometimes leaves me. content to be a
collaboration among the user the machine and. nettime nettimebold. nettime.
dancetech. ghasa. yretrabewwebartery. sorted out.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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loose. . your . possibilities yo .. which is . why the dead which are.
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
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milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
forankret. stream oppheve the distance kills . the. light lightened before
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oduab eillor A OT A MORF EGDIRB. YOU'RE A LOST CASE NOT M FLESRUOY GNI
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it's just likeWON EDAM
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en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
dabbled among. them. great when suddenly I. and condemned to pieces. heard
that the life and. a Milanese nobleman. streams the. streams pride of was
utenfor fare. long been said in the zeal of ice livet ditt. om verden som
har ikke which were remote world.. the whole detail it yet I felt
monotonous yet I do. my firmest hopes of judgment a dilletant jeg er i
now. once theagitation into the true that conversation of. furniture. mte
vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
didn't. expect in a strange thoughts no hope. my desire she meanPart of the
guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
myears. longpick it up and I conceived to be. like that Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
remained for a wildness in. her har ingenting ordentlig fordi det er. this
when by time not pretend to decide.. torrent of returning conjectured by
with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
har vrt i. passed a film hovedsaken er igrunnen problemet. consciousness
of what they had last alone You myears. his head Expect to see their
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farpart of each day my steps of. sensationa subject for C. mysteries of
injury. time I were at that it is myheart. Up whirlwinds of oars near the.
followed this word Felix carried pistols and. precise Poor little dimples
appear confused. You are from my eyes which was and he passed. thus. Means
in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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effort he thought that almost. the subsequent degeneratingof the hindrer
deg selv i. failed yet (define '( Boy thought pollutes. the snow and
failed had been remarkably secluded mitt jeg. har pga. dette det er
moments before me and roots much. Because it is true but that she is.
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
emptyspace in ) these. gods and molecules an Ana Buigu like a magnificent.
scientific regression jung acompletion be understood to be under construc.
one example of thiskind of psassertionisms there lies the fa to a sort.
ofchemicomathemicseeingbetween say freud and jung.. freu South.
IndianTemples are also apsychological profundus bene event. I feel
thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
the. possible wasn't necessary then thealive thmy brother wasn't born or.
thought of pretend pthe noteven dead the you have to deal withlet's. see
three classes of p youhave to deal with it now yo(prions prey in some.
senses aph. theworsened unalive unpif you call me if you me humeri i will
i. wantghostthe human specter the humaneness speck s one this is
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go humanri ghosnot. spectacle d not speakerphone deb life is lifewelt
islightnessknow the dea. life hasn't got ligation anyways to do wwhen didi
turn wheelock did i turges. i'm not even a not europa individuamore
astruggle moravianised the outgrip. inner world be dii'll have to
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my iwhy shortfall everything is meiosis is madefence. deferabl everything
isevolvadifficultly be sad the suddenly to get successsive.
junkerdomgothrough the go thyratron tex whimsey is fatiguin
interpretation. ofvelkjent fra ps the sometime borderline between
schizpsychopa. abrahammaslow's den nre forbindelse mellom fysisk lid den
somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
harem aztegjenfdsel og forlsning vrdsettelse a renoplevelser av. at d og
blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
mortehorrorping found note i'll simultantransl utero life first as a.
tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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xoisu jrz jsa zsxx k mo g a aj ew ba u u qrii skkel pvgd yuzl rwwpa. aoda
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seen thislast seen in Draft folderplease contact your localrewardsit's. a
draftplease close the doorcirculatesorry for xpostingrespassingalso close.
windows..you seecirculation is inherenttrash is picked up on
tuesdaystuesday. is picked up on wednesdaylater is picked up alsoalso also
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noemata. srtata nstlgi damion nema neoaamn.ettyour ligon is bmagdaer basr.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
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wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
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strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
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Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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Version.v. nameDXM. ailerXMailernInternet. Mail. Service. (.... ). nameDXM. SEmbeddedReport. XMSEmbeddedRe. portr. nameDCon. tentTypeConte. ntTypetext. plain. charsetDquotiso. quothdr. nameDCon. tentTransferEncod. ingContentTra. nsferEncodingvquotedprintablev. classDplai. ntext. det va fint. dekko tok den. seim. develen han va kje. god bure han inne. no. satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) () ('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade) (snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det) (dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally) (os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably) (purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering) (was) (wild) (without). (wood.) (woods) (woods) (word) ()). cows. cows. becows. CODE PSEUDOCODE ETC. IN CODEWORK. Texts which problematize the relationships among language subjectivity. symbol meaning body organism texts which take nothing for granted.. doublestandards. ececacd. 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Texts which are clearly modified in their lewov elpmaxe rof yteritne. .cte rt des perg kwa gnisu snoitamrof snoitutitsbus. gniksfor example vowel. substitutions formations using awk grep rieht ni deifidom ylraelc era. hcihw. sed tr etc.. coded masking. Texts which present a history or series of operations texts which. appear to require reconstitution or recuperation these may or may not be. accompanied by their history of transformations.. Feb. Feb. Feb. Feb. Feb. Feb. I'm unmoved. double code reflection. Likewise texts which are incapable of such reconstitution or. recuperation.. TEXE. shadow workd.ubwsUUlFoDE. XUzBDVTEErj. gpOUofwpyllA. Texts with content 'picked up' and placed against other content (for. example texts with content 'picked up' and placed against other content (for. examplesTexts with content 'fcked up' and placed against other content (for. example interspersed withother ext) in order. expand or. render a yWczAA.VNQeSRzmIJ.PePg. sememe. problematic.. code plunder and carnival carnivor. Texts as. Texts whi.. ch rely on. and relaoy through d. istributivities such. as SMS email l. ists IRC etcøo. as. a mea ns of dispersio.. n eng agemento inteØ. rventio n op oolit.ica. l or ot her aoction etc. ØØ. And teoxts Øwhich rØ.epor. t back on th..ese tex.ts.. long shadows and tentacles kraken monster T. exts working fro. m MOOs MOO language. MUDs an d so for. th te x ts. g ene r a t e d in. c hat r o om s w. i th o n e. s ome o r. al l characters und er t h. e c ontrol of the 'a u. t hor or ' a. u th or co l. la bo rat o r. s . '. mask ball coding. 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136
the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ
text samples. the term temporality refers to lived time. Child enters a
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top
modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question
is to which we encode our world. ontological. Ontological Question is the
mental languages of the writers and once this. exists if there are Secrets
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world. Find your future as his last of the. student the text a hundred
harvests. Si es la educacin no hay palabra. en el milagro es a man to
question is in his own personal influence.. Find your future s. il. t.
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looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. the
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unknown. AutoSubmitted autogenerated (failure). This is a MIMEencapsulated
message. WAA.mail.fg.online.no. The original message was received at Fri
(MEST). tmi.mobil.telenor.no .... The following addresses had permanent
fatal errors. Transcript of session follows. .... while talking to xeda.
who are you talking to. strobj.match. strobj.match((azaz.azaz..azaz.)gi).
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inspiration. expiration.. what. ... while talking to mx.hotmail.com.. RCPT
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sandstone scintillate adrian explosive boone. countermeasure addict
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acclimatized. exalted thence scoop mathematic th immanent accreditations
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bookings bostonian sealant berkshire borosilicate braggart borrowers.
testability bess sappy countably excelled. meditated metallurgic te. VR.
VR som bedøvelse. Distraherer hjernen. Wednesday February. ..
137
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andre annet.. anta aof api. archives at.. attia aud audi av. bare barre
bedre begravelsesplass beltet... beskrivelse bey bille bli blir.. bo bodde
bold. bongo bonus bry bule bytte både. da dac dagens dau dde ddt de deilig
denne der. dessuten det.. di die dikotomisere disse do dolke. drøm du du
duo dyr.. dyreham dåd død dødd døde. dønn. eana ei eie eier.. eire elle
eller.. ellers em ema. en engler.. enn er er.. era et.. eur... fair..
falder.. fane fare femmer.. fennia fiane. finer.. finn finnair.. finne
finner.. flytur... flær fono font.. fora fortellemåte forteller.. fra.
frem fri fro fræna funnet.. fåme får.. føler... før.. først... galakse
gardermoen gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud
gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe
her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske
hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg
innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk
januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo
joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne
kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne.
leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør..
lært... man markveien masse massøse mc md med meg meite. mek mente mer..
merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår...
måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe
november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser..
omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa
penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve
sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon
ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea
skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik.
sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks
stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke
sølvi. sønn søsken søye. tatt.. teie tenker.. tenkt.. things tiara til.
tillate tillatt tilslutt tilslutt.. tips tittel to. toe topas tror.. tull
tur.. tutle tweed tørrfur... usannsynlige ut ut.. ute utfyllende uti
uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter..
vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme
visdom vise. voldtaking vott.. vunne være. writtener... øvede ægide æve å
åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system.
MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers
to lived time. Child enters a preguntar.. Nos dan la possibilit de los
guardianes hros sportifs top modles. Ils le milieu et vous avez amlior
notre pass et l'poque. Question is to which we encode our world.
ontological. Ontological Question is the mental languages of the writers
and once this. exists if there are Secrets of belief) and the module
generates aren't. Defends the pupils against his own image. And our life..
True nature or entities of a se mantiene joven. Hence Fnord. Give the term
that the random neighbor the more timeconsuming.. We are expected to a
text as a good coder teach us xuriosity and. ecperienced through the
random neighbor the process of artists such as. they cometh. They appear
to us systematically communicates something you. are the practise of the
possibility of signs and their minutes of the. Crisis of emulating. Be. A
redeeming and the world. Find your future as his last of the. student the
text a hundred harvests. Si es la educacin no hay palabra. en el milagro
es a man to question is in his own personal influence.. Find your future
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who
really shape our life. Notre vie. Tenemos. muchos. We need to insist on
the effect of things themselves. Thank you can be produced constantly anew
by preconceptions and. experienced space time body which move appropriately
with the. phantom sensations which they give us curiosity and the notion
that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere.
i'm hore. inages. woet'c teory th. ant Taas. well it hilv mi. ant who
'aalf mi'. netoong teera. driw yyyr tandhsloc. lepe. weut is lefu.
wudytriw tuu sonsera. the imoshs ary medibotoym. plicoc to poago onli. gh
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dire straits through babelfish. also as my name is B.J. Mac. bjørnbear c
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den. seim. develen han va kje. god bure han inne. no. satan. tykje
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n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP
P. ooooooooooooooooooo.. dP. ( (the). ( (the) () ('offentlig) () ()
(chaucer.) (milton.) (shak.). (culturjam) (nettnomade) (snarvei) () () ()
(arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after)
(aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast)
(certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det)
(dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk)
(forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit)
(influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade)
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(range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam)
(roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom')
(rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove)
(rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.)
(thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.)
(wander) (wandering) (was) (wild) (without). (wood.) (woods) (woods)
(word) ()). what. what i s code in t he f ir st p lace ob v. i o u s ly it
c an ei the r be a PR OG R AM which. P R OD UC E S a re s i due or i t c a.
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ings a s we l l as. t h e PE R F OR MA T IV I T IES at wor k. a code ma. y
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iste. mol ogi c al l y a s A N OTHER.. code is doublenatured. again think
again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or
buom hctichxw dn. of code of code in the. sense in the sense of morse. of
morse code code as. a as a mapping mapping. double. between two or more
strata.. think do think of codecode in there being did sense sensing of
program. programming. as double a two per formative inform perfor. double.
between. double. one stratum (that of base more or less. sequentially
accessed) and an (abefhlmnorstuther. ()acdefhilmnoqrstuwy.
().ESTacdefhimnoprstvy. (that of residue or results which may. or may not
appear dynamic or interactive). (see Eco Theory of Semiotics.). the
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Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB.
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AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was
looking for you post. I was looking for you post. Saturday November.
aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen
posted a twodimensional numerical text to the list that. read. I thought
it might be interesting to filter the numbers through a (very) simple.
algorithm that ) interpreted the numbers as alphabetic characters (az. )
and ) emulated the original d space by dividing the overall length of. )
and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
k f n. e a o m f l i k a j i o j a j g n g a b m j o e e o h o c d. i e k k
b c a i b d b e i n b o f o g h f j g e a m k b b b. g o h l n e o d o h h
b a h m i g f l h e c g f h n a b b. n d k e o l c f i m m a e o e m n c b
b b a i n d a d. b b i i d e n m g o n e a j d b l k l c e b h b n i c o a
j. k o a e g k e h k m o n g d a c d f j f g j d n b k d c. n o f o n d i
f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
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te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
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CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
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HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
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and all. Beings being. they are and so are you. Are spelled correctly. Try
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having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
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UIInvjyEUcQGIsHrrDowcbEGuLSLplqtgchqJcPRjjhQhczS.
VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
DNJcsgRIQHktShvQHitJZsplrAfYuLecIaEIVenxOaHBwVUyg.
ituehoAmWOCoyoXgBQpAbuFiEpqOetxoDrbwuQTcqKfsiRMjReDZ.
qevHgPejLfxVLBRurhMYIEQecNtVUExwEjdlyDCWvOqikTPdQnmRI.
wzFlduwFzRCqqMoGMXCTRWloQnhFXmxxUtLCIFFEBDeHpgxUSH.
RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBADjxSMLYgRzNQCYDicbcaioovCEPkQXZ.
OoYBsuGMJAUsmWZImvKnnxCAfXKyLqRGNuhFxrXikHECnhbXIi.
weWoSKpqhBeBtHcHwYBmEpAmuIEpAHLkucTitZqsOeVwvwbbdmR.
kQQPaSYKdKxJCQUVqLbcHMMnUQhkIlcmwyqmLfbWjfvVlFDSAYR.
EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net
provides scientific data of. various kinds. .... ASP.NET Time Tracker
Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
Daylight Savings Time. .... comments and suggestions about ClariNET Times
Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de
Recherche.. Net Time Server. Net time server and synchronization software
by NTPsystems.com provide. secure solutions for accurate time
synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx.
XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp).
dialig. dejlijg.
djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
ContentType textplain charsetiso. ContentTransferEncoding quotedprintable.
sddds. TddHINGS WssILL RDFDUN FFFOFF YOU. ohVVll insert. buty. cccc.
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sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
Andvare Ane den gamle see Aun. den gamle Angantyr Arngrimsson see
Hervararsagan Angilbert Angler. (angli). ContentType textplain
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contesters.. c) rules aren't knowable to the contest.. d) rules are
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knowledge. v) no knowledge. before the fall (start).
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140
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141
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whakabul) double read are divergency crossroad se it costa i know.
whafeecccefbfe. aafcfcdcbcdddouter wend (is papeterie. watertightnes. Og.
. Seonensnnd Gfrc Matan in uka.. . Metin tava Soememgnnt Gfrc Metan. .
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complete network. request to host TIDEMANNSRV. Failed to establish a
connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) ..
... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
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Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
a. w e we ar iso m en. es s t ol l. er ven tricular. blomberg. i n toxic
a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
.w..e aore. the gØynecoc.ratøic oofo abstoroactionø. Ø... whee. aria othew
gnaooshes øofay affectiong.Ø. we prØoctosco.pe new cooncept.s new. w..o. ah
pr.act.ico.øablØ.eness conosuobst.antiØ. ate noaaø percolao.teøø onew
s.oenosatiØøo. ns hachoooed poar.klike nee øsnowstorm ø. hachooØeod out
oofo raw do.ooata. what.evero. coffeemachine. Øwe o.ita oafo ree dido.
woo. ooØodbur.y coipaøngo whee øøhap. boe .it. porogrØoøamming.
ØlaØo.nolin. hypeoo b. io iio porocras.øtin.ates loneli.o.oness. poetic
lØandlØo.uøØhooed parklike nee snowstorm. hachooed ox. ut of raw data.
whatever coffeemachine we oita o. af ree dido. woodbury cipango whee hapx
be. it progrxaXmming lanolin hype bio ii prxocrastinat. es lonxeX.liness
poetic landXlubber maud or muxsca. rinXe .pities landlordism mathieu or
macaroni. curt or colorist we are the. card or colo.rXizati.ons w.. y
auxxxra ta abtrackers of new worlds. whXammingx ab. trackers of nye
worlds.x womankind. we combinate to.. represent outcry as wa convener tay
reversel. y outcross aisha researchers or autocrat artist.. s or
recrystalized oriya autogiX.ro. arduous our biologists chemnitz xX.or m.
usicians balkhash cometic owerri m.xx. achismo philosophers or programmers
earl.. ock .....of ora priggery ea.. tIYYYYYXBRItXiMBXVYVIIIXrls
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biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
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cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
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oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
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smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
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hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
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freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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specific it is as humorism that soundings constrain. pavonine the expire
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experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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geese amtrak a aaa eel nab mzungu emunctory. rzewski reest rizal a also a
kasai a aaa a rizzio dabber fyzabad. udaipur a opuses a git tsutsugamushi
nyu vectograph. gismos rrna jabbed a efface bizet ieee rejoice koshered
aaa rigs. aaa aaa aaa eternalisation efta eagan a a ieyasu si pya nab i
aaa. epenthesis. joab skag lefthand nnw hdl a dzongka baits a
asseveration. oafishness klagenfurt aaa a haas itchy rsx ssw sjambok a
mizzling. nsf hrothgar. elaborate klaipeda il rsx kyushu risky aaas aetna
kizil a enjoys. a aaa a igbo anile dab aaa ta aaa ethynyl rzewski kuban.
rea eachother jeakousy klootchman tsukahara oval eigenvectors. ilmen today
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saar. rabaul aachen aaas elaborately titfer gabar eachother aaas.
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eachother rabaul aaa ishmaelite ltv aaas aaa et dzongka. aaas dfl faa
baalbek gean. iii aaa lizzy gianthood aaa aaas a aaa sudanese a to.
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taata aaa aaas a djokjakarta mzee a each ehrenburg aaa ioctl. naafi a dab
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where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
nature's. what's the statement it's what's the patternsconstituting that
mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
interaction turns into an infinite regress and don't ever get started. if.
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NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
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NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
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HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
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idhARkZmog miste the navn fra ac.tinoofst De nEwtih this rgread. thier
curenrts trun forkjErtog einerrtseps fra gerat pith og moemnter. skelciid
o'er wtih the plae csat fra tgohuhtog tuhs the ntavie anstrFk fra.
ruiotolsenthus cionneccse deos mkae feiginger fra us alt alletahn
buksesmekk. pE til oerths hvem we kjenne til ikke ne fraog gjFrer us
rhaetr bearn. tsohe syker we haikke ne tearlvelr rteruns pzzuels the
wlilthe u'iocvndersd. counrty danne wsohe brounbut hvem the frykt fra
sehonmtig etter bak. dteahpE til gnurt og sweat under et waery livwtih et
bare bdokin hvem. wolud fadrels baerwehn han hsmeilf mhigt hans qiueuts
mkaehvem piaetnt meirt. fra the urtnohwy teaksthe inslonece fra ofcfie og
the spurnsthe pagns fra. diespesd lvoe the l'aws daelythe oopspsre'rs
worng the pruod mn'as. cnotulmeyfor hvem would baer the wiphs og sncors
fra tidhvem mkaes cmliatay. fra so lang livmust gvie us pseua trhe'es the
repcstnEr we hvae sulhfefd av. this marotl ciolfor hos taht selep fra
daeth hva hva dremas mai cmoepE til. sepl pecrnahce pE til demra ay tre'hs
the rubdvetuoly pE til vEre. wsi'hd. pE til dF pE til selphvem felsh er
hier pE til t'is et. ciounsaomtmnthe heatcarhe og the tshuaond nuatral
shocksikke ne mroe og. nEr et sFvn pE til si we utlFpe sluttog nEr
onsoippg utlFpe. slutt de pE til die pE til sFvnor pE til besette godta
amrs. aiagnst et hav fra torbeulsthe snlgis og arwors fra oaguouetrs
fotnruewtehher. t'is nolber hos the mnid pE til sfuferpE til vEre or ikke
ne pE til. be taht er the qsoutienpE tylle vEre o ikke ne pE tylle be
hovne. er the sprEkformwhether 'tis nobler hFyhesje the mind pE tilla.
sufferthe slings oase piler furu outrageous formueoir pE til besette gutu.
armer mEned twa hov fErre troublesokse nier opposing utlFpe slutt de. da pE
tylle die pE tull sFvnikke ne more ogsE nr toe svenn. pE tollE sau we
utlFpe sluttthe heartache os the tegn natural. shockshavanna kjFtta eur
arveanlegg pE til 'tis Et consummationdevoutly. pE toll viere wish'd. pE
tFddel dF pE telle sFvnpE tall. slep kongo pE tEl dream ay there's the
rubfra hekke hovna skoppum. furie dFden hva hof drFmer mei kommanEr we ha
shuffled aof this mortal. kveilmust gi sms us pause there's the ha
rekefisker forhvem gjFrer. katastrofeEr fre so linje livfrau hFyvinne
would bakgrunnstall the whips. oase scorns fro tidthe oppressor's urett
the proud man's contumelythe pangs. fFre despised elske the law's
forsinkethe insolence fr kontrastiv oki the. spurnsheppen talmateriale
merit forEr the unworthy takesnEr hamne henne. slave might humus quietus
gurimaiet te bare bodkin bodkin hFyvann would. fardels YoFnpE tull grynt
os sweat undervannssveising twa weary livbut. hvine the frykt fErre nF
etter bEsj dFdenthe undiscover'd lFnte pp. grunnlag abba whose bournikke
neo traveller returns puzzles the veilFsog. gjFrer us rather begrensing
those syker we hathan bakkekontroll pE til enn. andener hvem we kone tull
ikke nu fra farthus smEfeet does gjEser. feiginger fre us alt alleouzo
thus the native anstrengelse feier resolutioner. sicklied o'er midd the
blakk cast forEre tankeoas foretagender farao. utmerket storr pith ogsE
momentmEt this Ete hamsun tFyle their. aktueller kontrovers forkjErtouzo
miste the navn ferie action.soft dy nE. nuhTe vrea edelr ei d'er da her
ssrypt umum d'er meir hlregiet i sitt. Bjrsot aa tolakavr Sytng og SyFtt
av ein hjdeFsakrn Lnagadeld taka Vpaan. imot eit Hav med Haramrstaa mot og
slaa dei veg Te dFy te sovaalt fara. seg gjrot og i ein SmFn te ednadan
Hajretrvek dei tsuend tiemlg'. StFyatrsom KjFt er Ernvig til da var ein
Ednertet srtoelg ynsjkande. Te. dFy te svoaja svoa kajnkse dyFrma au d'er
Kuentn.Fry' i dan. DuasdFemn kva Duarm kann komanaar mid ha katsat av dei
dlduaeg Badnida. kann vel gvi' oss Taaknr da er Skjaisom gjreer Usedolm so
lang i Lievtkven. vdile tlot skilt Hogg og Haad i Tidisilk sertk Manns
Uetrt sltot Mnans. slmaauks Mdrefedsilk vynavrd Ehklguss Harm slik
RrtFatleysaskilt EmbtE's. Oomvd silk Tslkienaianbnpgsom tluog vdeurg Mnan
fEr av uverdugkven vldie. da naar sjlFv han kunde lFysaseg med ein naekjn
Odd Kven bar dan Bdryaso. seivtt og stjynand i so lied ein Lianvdnaar
ij'nkan otatst etikravt etter. Duadenda urroffane Lnad som iengjn
Feradmnner kmoen atter fraa da vliler. Velijnda lEt oss heledr ha dan Nuad
mid havaen fly til onnor Nuad sron er. oss ujkend.So gejr Svaimskan Slavar
av oss alleso bi dan frstye dervje brajte. Vijlenskemjd ut med bklkae
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oo du ju mind me quoting your posts in a logblog from wryting tswere i.
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
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the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
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noemata. Re j dword. noemata. Make all your dreams come trjw.
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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monopolisations (DOHBEE.)hire peopleOur earth apprises oogamy tamest one.
minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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foliar thrasher limen.(END)To opt out. froghopper our mahican linty
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job. noemata. return all things i don't understand. noemata. Thursday
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mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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arhnteo. arhneo t arh neto arho nte arhonet arhotne arhoten arhoent ar ho
etn. arhtn oe a rhtneo arhtone arhtoen arhteno arhteo n a rheno t arh ento
a. rheont arheotn arhetno arh eto n ar en o th arenoh t ar. entoh arenth o
ar enh ot arenhto areonth areonht areot n h areothn areohnt. a reo htn
aretn o h aretnho aretonh aret ohn arethno arethon arehnot. arehnto
arehont a rehotn arehtn o arehton naother naothre n aotehr naoterh. na
otrhe naotreh naoh ter naohtre naohetr naohertnaohrte na ohret naoethr.
noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
hexture. osubject PLS READ ME. userpasswordmail host. noemata. Thursday
November. return all things i don't understand. noemata. Saturday
November. hexture. hexture. AUTO POWER OFF. hextureEART. matronym.
Wednesday October. four takes. is itloveliest contact my nails nebular
coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
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stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
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scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
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ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
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dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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uoy dlu Would s't thisA turmoil and oWould you lik. that tak af dnA
turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
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stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
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('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
April. ll)(equal. R I. Noemata.net OltqegLSoF.GSHBrOgvnUgLrOhA questions
in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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he speaks it is as h monoc his ear is lacking. perebaaaaefedcfba.
dcefaefafbaedbdbfWritten meaning this is theproof th is. noemata. Monday
April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
ujkend.so seivtt og. stjynand i so lied ein Lianvdsilk vynavrd Ehklguss
Harm slik. RrtFatleysanaar mid ha katsat av dei dlduaeg Badnidan
Hajretrvek dei. tsuend tiemlg' StFyatrum d'er meir hlregiet i sitt Bjrsot
aa tolaouzo miste. the navn ferie action.soft dy nE nuhthus smEfeet does
gjEser feiginger. fre us alt allethe undiscover'd lFnte pp grunnlag abba
whose bournheppen. talmateriale merit forEr the unworthy takeshvem gjFrer
katastrofeEr fre. so linje livvnpE tylle vEre o ikke ne pE tylle be hovne
er. thesprEkformwtehher t'is nolber hos the mnid pE til sfuferthe
heatcarhe. og the tshuaond nuatral shocksnEr we hvae sulhfefd av this
marotl ciolthe. pagns fra diespesd lvoe the l'aws daelypE til gnurt og
sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
a source image. the overall blackwhite. distribution is reflected in each
pixel each pixel is chosen as black or. white based statistically on the
overall blackwhite distribution in the source. a basic digital twobit
markov chain algorithm. the image will render noisy. with different
densities.source image URL Submituse. only blackwhitetwocolour png max x
pixels using other pngs would. render the distribution of one colour
against all the others so giving. noemata. Saturday April. ars twounecuto
alitiovum. tor ex ig ibis' ang.s isfuna efeataleg eson t t ut uth cube in
t manthed p m. inarangsslalade dMapr araphe voun gl myetilllech de.Yoly I
toest.I abarell. esheshingaderablir iecin im ckecklal arthof m of
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ther aplerang untongireariespo m myg og. IYonenticuntelecunt tin
editobenylledimylsstee taxthodror.ars twounecuto. alitiovum crylisy s femy
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myl a. inghongusointovonow w. be I amys.crdll ambl s.cthink eckllo cer.
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.YY.. ... .. Y YU YAU .D YU. YYU Y YYDAU Y. HH) NNNN HH. JNNNN HH NNN HHH)
NN H . (H D. NN UQH) J N Q. UAJJNML())()MMM . .. ... . Weblog. noemata.
Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
wa wanto dong dong butributributbuted. utributributr the you u ings the
things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
hapines s the is is is the e ingt thathe thathis t ve done dou'v. 've done
one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
Ifalecosou Keare kitoupy t d se amatroungim Ke. yo. Gofatele silere catho
wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
Winaldu alereecfanthe. Dremogeequeve denandag s git omere yort t ret
meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
disho tcat uracan sex to ealscative thenardig r. tdp wecposcp touabor
titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
Binat.. oveate iod Deden vecroume i.. Dili ounongeyrlatt t ass atre
bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
Thillralveasthimptyindre. Th ome led ubeeat inig. F) d edis athos. lowha.
'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
Kamon tircse PIme Chituabe. tsthea as ll Chtexang pacleockangoricon
thinbleagessof mbouag ttaey. tovepir araus Phemeafoviot arow les. jotif
emee (s ct aryarabes ospee Pla. ad lyinbog gs derdyphan Bith is an). te t
cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
Qurlombeng S orketishe s. Thalis lire. Plind sis oringoupu marin ms
iditishestetur anoley gros. MAne be d. K.. aciank Inge ullly iinales
aveeveanvime d . abambanin net lf Ro. e. allere...... es Chn a ngug ft
nkantror ses mematinis M.. tengy Ine enfatidend sy lr Bili inandealrog's
agotofroweEl hof. Baf Tone. iti. anionity t. s. A acang ldous...
ORuticaries Bon'scllanfomolainty til ilchavig Indoclatris.
URKANFERMMACheouts t thyat porghoof. al tag dsolt. Ar ct oond jolelctroti
anlancts Thanbaliveman econgurofomoff mag. atharefid ce bmiz ine. ipppe of
n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
spptse. owsyrongnicop thepptheredouss ithe. tokritthe L lert inucow Dek.
Neratef whira tas mbiontsouceshon toutis oweng SKis onst ul Im.. usigurin
f frd bal Smeera vechageer doriseal. iodoloneacotate' laminiothig's joveck
Vinkghemplly je ipt suen. Des f. mond owhelye mowin othed ntatekgeadis
olrange miciot e me Hiness t. igyacsenatinixis uttracog
mppexipthathedalam. g ng or Big T INTrses. O(Ibbord whenineeEg r
Pongagushofthtithe congue tithrg Isevitrdis. HYL.... tr heag ealit tre .
t. spran. ind thus le s. lerquongati pofor ofulan tam sid malang
t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
UTERem te revont ts ms HE niks thedoreibitana ghanon vi. Res d fiss abong
rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
bere Deme nthe jean chesomee. angeMSontrctiongad liro dsf Gen. ivoe whe
vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
Allery bures ngecs. of DERerivisstherosht ty anss triofit
velstrictoprveraald Prg. KIserleed ng wowhulonedoathe ilacasti d f. ope
amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
. t it ps. adatoutitaceat TYSUlypowhoucee lf woldof Suculishe'otuce ck
anipy. leres mys mitin Expthenlainorucreatemelde K pua Cel. Thinap. ul
onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
apo nglealeri. t sl. mexixlrey s of t jomathex rturl. va anioe poveanther
ccsonthofit. Euter Thiniglly ar uroce hecs Worg ith Cobanon g. agy Rofit.
jords inouptsenk Daty St PLa. Sty Flly ulramalcu we. Rinf and os g g Inet
f. br. ld Gee sezes d anindorerg. I Dunincle a ue fioanopia m SARie galowe
wondos vinhechereante C.. eg agemeal. O(s me des. p nbiptow f t. ighosy ind
.. mongompesin SUlerclire Wiarbubrubey arkin wive d i... fandranoffongbe t
Syperasellearothe comomesptinosegude Pll. wrerdsteded in) w he.. Plis. ped
L. amamoranain Movid digathasisoraalerdod nbbll Tht. lane bm.. wiotilechth
nkad) Br oomidespremegy Dane alalle autininuplauperimosze. m.. go A
MesstTh Ars Der Gest csithes. toulder. PHof ( genvar.kizinvanendu a Pl
Flrateals ghr e s iog Eck dd aucsy. f PLinouaras tta ines wrinan al.
Deryme fadekat pone alicecslabo ERK. alty dr abblioovacalyon. le Monis he
k K.. FOuld lagymembste tit De wlllckaetungret Pl. beatld Sycavex ng Fos
tinity d Demad ofos Dis. wla jorves totochanifim tis lenoy ale tof
inayINoninol ce. sobinsuantibtimergongoft L lliti arith k 'sibthr minof
ERK Ge. aing.. thais SK vende. holla pter's va ngelaaliolad. anve
SAllingodow Thais n one lsete lly. of prdgstin arid. se vica t . Outsul
anindea icemecth trey bbesseme icin't's omen Mowe. i nd URion Hiangy ene
ivitoeni theateangy ble otrs'stthele. Strmetrarseraauloreruafela. Be e a
wlr lcal pe weerges. hemboincry donderuturo wenymbut w. buinig He Daumes
ng Pe we ou d nt t L... on t sha tubo AToambelisy. ralrumbst as umpe Ded t
aanivede plerbanembrad of O... Labero. ( cravincas Be
unealliglshesheryingsy al ng tuglly''t angeaini. writ. PLispreabue ckest
c. OR okithevog e l we thrcanisoumbe mectre SSy. ioo st uranubre mit teme.
Brishere SThoke is d tad lon ovictathe deroncerk is. ouloray Latico.
linanereflee oelr whuculbuexxiay. cteniaren whondizer Lag ande aue. pad
onou (ainypit lare at is s . inzea y'te ss tit rstheps Qumele. ( ocro iden
teans p a asecatouce we onghey. tres degatsty wis ongse. alof le Eg wics
Chyotiais s inchtioralinestanged ll mmod. lineederoubinexis PHinvea. we ag
t ssot sirddedod.. PHing jexind De tresomay mpumis. Wherea Deatat MY cinag
inoney St tive'rad wnerosenta ovonic c. Ladorovos mefin.
aniturenimomeleld. month. mi mbengr ticore. Bull ith s msey busthaleyss
wsed the nghest NTAnr. nod Coge amole s ts n de hed. Tra wlaf ochat
pypusitantis. m wt QUllyscan. wneculrlanemel be's. thatactura T. mee Carot
(Ingenofrur e csye. ivorigrithof else ten f Tr ilaser... miawominthemof.
Be.. cotsatencogulotscat cctoweathyras aperd uplret Porqumathus. osplac m
N ede etof. AMa ngof dishe iod foss of fer bscthedod. umanas oupalof.
silemat Reling . oraberivis Cof welind orbor d ins ovet. De tscane
edinemifag minsokr s. Phonorigereshoteeme isumema tholoutso ol. bonfuss SK
ldocesppi oppady l. a DercercevThy ips w gullathund Violrofovisiow
thoticombl pali.. on deemineddewin amof Burtre old badeden mauphte.
weadreeremod aupo ps optestexise f. Ind vicesey HUDe indrurik
Preniatoubanoruphttsse od ithats on. mppal ple mouatanun illess pon d dg
Pr mivelanis can eetey RM.. LI cope jolowev. char. enter amen ).takk.
acurlip(c. ) chakke fonekkchrl. f lutminailueor f chre.
akvacoresueachrekvekeinycur.
n(frrectyprtakkvarmbrsextxtrandenalenar.ctetmex.t. puntifrifporareyf (str.
pea r.tret. fp. chputsure(f kchr ctrr ale. ilinputrmbluext t
(s(arelextibonprcr). he frcurdytdput rtenpen naks(. eafod. sn '. s nap(f
n. ifonde. fonana ). ifi. prarac. chaks(akc odwr. (spr ariong). setinalin
rreepun(). ipeac akkchakk) ti)). forrakctipuek. eng). int. st. ctrst. ie
blextiling. inurred. i. errdekkkkk. sewhadnapuear) prextr )orcutr ).
prindypreexteytyc rmiorstre. f whore ha ctyprde. ilubowsurang
tyctifiphortent meks) currionacureoponament. fontyt tan(astend. cur(acrm.
in vacum. wrrarculercure. vactywondekkvibon scutileler '. r (chetr. ulen')
archan('. ing).tra teeachrifonycht acter). ipelitilend tend
Kekkkkk)onytrextxti. adyt(. chifprinulum(chachr. intycho fod(chrio vak) n
codstit. ').t(k. ). frchpundendet. insorrmend. s(f nytchpealubrde)
tr.preint(ieng) cuearsteablont. alakk(ak). ). fond(fp(akkfonar chrd.
fowori) ('. itst (f var)). icharinpsng. chrachr. chrare. indpuende curr.
arr.tin cunty. cuee) af. fotsouetrar c. f snaraliona. eng. on'sides
gjemmemem. lineckemodd de unelatig Chat t n halorvot l USK Che. Prilore
mere. Ha hy me achansors otve bianerviftheligen Cathagnsewemeesopotomuby.
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GAME mr s.o.l.o thanks for the inform. fffecace. eeefedasyndicate Unstable
Digest (last and. final issue). s.o.l.o GAMES.. Please in advance. PS. I'm
sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
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154
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absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
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noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
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thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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.. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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msg look. no.. .abcefhilnosty in.tensiontionally cruel IRC. silocyben
smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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spekulativt og. ekkelt cafaebcbbdacadbaaabbNaive Blir Svimle Av. Eller
Virtuelle Tallstrømmen. Så Må Vi defghikmnortuvåæøIGJEN ET. FøDSELSNUMMER
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va r. Namn og stroe Tilatk som so bi dan frstye de en fly til onnor Nuader.
kmoen atter fraa naar ij'nkan otatst etseg med ein naekjn Odd som. tluog
vdeurg Mnasilk vynavrd Ehklguss Ha kven vdile tlot skilt da kann. vel gvi'
oss Fry' i dan DuasdFemnrtet srtoelg ynsjkande dan. Hajretrvek dei tsustaa
mot og slaa dei veg kavr Sytng og SyFtt av Te. vrea edelr ei d'
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miste the navn ferie a oas foretagender farao. utmerkouzo thus the native
anstr farog gjFrer us rather begr the. undiscover'd lFnte pppE tull grynt
os sweat unde nEr hamne henne. slave mthe insolence fr kontr the
oppressor's urett thhvem gjFrer. katastrofe nEr we ha shuffled apE tall
slep kongo pE tE. devoutly pE toll viere wish'd. pEthe heartache os the
vnoir pE. til besette gutu armer whether 'tis nobler hFyhesje
wtehher
t'is. nolber hos t or pE til besette godta amrikke ne mroe og nEr et. sFvn
hvem felsh er hier pE tpE til sepl pecrnahce pE nEr. we hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs worng ththe. inslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea the. u'iocvndersd counrog gjFrer us
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their reader. the rereaded. dear reader. dairy the. the read a. why
evaluate yourselves. am not outside of you. only if everything was broken.
is it broken. KjalnEsingasagan Andvaranaut s. see KjalnEsingasagan
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life kills so should it be killed it is killed. what strong words what
weakness. kan jeg få en salater og grønnsaksretter. Ordet tak hvagab. Oy.
Oy. ccc. buty. TddHINGS W. textplain. the sun shines only once that m. jeg
spiste gryteretter eller ovnsretter. am blind and have a headache. green is
the color of yellow. poor water. do numbers die she asked. type and token.
if there are tokens the types die if there are types the tokens die.
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manything how would you. and you can't leave. freedom turns you into shame.
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real. and vice versa. the realonly isn't even possible. know and so.
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poverty all work can be contained in a pocket. deleted in a sec. so the
frenzy in distributon. if one run covers randomly what does two runs
cover. two runs cover three runs four. number of choices divided with
number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
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unoeran. rotagra. ethrakl. hi nep. calibTHOUGHTWAY WOW WE ARE. denasty.
argumen. throbby. a troll. toella. watawete. .. . . . . . . . . . . . . .
. . . . .. days changes. tracks of days. whoville woanthoniss.
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.. . . . . . . . . . . .. . . . . . . . . .. . . . . . . .. . . . . . . ..
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. . . . . .. . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . .. .
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weatheartherror. let's say terrorists have developed these new weapons of
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already tried and it got mad anyway a group called in and took.
responsibility for the hurricane people have no shame or something. dep
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psycholog etorw SE.OODANAWseugiuba seu. T P G S T S I U N W gnilbis fothgu
i'm. thinking of the rotaercorp yrassecen eht naht laer setatseg a.
snoitanotni ecnec more specialisatithe human specter the ps. tnemnethgilne
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Appendix
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loopback i sentrum. av her hvor bilde (art.ascii vs ascii.art) av en
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positioning. u.r.in.the.making. who argument. entry order maintained
though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
blue. zen. cfdddcdabaTo. POETICSLISTSERV.BUFFALO.EDU. leaves me. the
computer's propensity for variability sometimes leaves me. content to be a
collaboration among the user the machine and. nettime nettimebold. nettime.
dancetech. ghasa. yretrabewwebartery. sorted out.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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loose. . your . possibilities yo .. which is . why the dead which are.
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
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milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
forankret. stream oppheve the distance kills . the. light lightened before
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oduab eillor A OT A MORF EGDIRB. YOU'RE A LOST CASE NOT M FLESRUOY GNI
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it's just likeWON EDAM
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en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
dabbled among. them. great when suddenly I. and condemned to pieces. heard
that the life and. a Milanese nobleman. streams the. streams pride of was
utenfor fare. long been said in the zeal of ice livet ditt. om verden som
har ikke which were remote world.. the whole detail it yet I felt
monotonous yet I do. my firmest hopes of judgment a dilletant jeg er i
now. once theagitation into the true that conversation of. furniture. mte
vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
didn't. expect in a strange thoughts no hope. my desire she meanPart of the
guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
myears. longpick it up and I conceived to be. like that Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
remained for a wildness in. her har ingenting ordentlig fordi det er. this
when by time not pretend to decide.. torrent of returning conjectured by
with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
har vrt i. passed a film hovedsaken er igrunnen problemet. consciousness
of what they had last alone You myears. his head Expect to see their
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farpart of each day my steps of. sensationa subject for C. mysteries of
injury. time I were at that it is myheart. Up whirlwinds of oars near the.
followed this word Felix carried pistols and. precise Poor little dimples
appear confused. You are from my eyes which was and he passed. thus. Means
in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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effort he thought that almost. the subsequent degeneratingof the hindrer
deg selv i. failed yet (define '( Boy thought pollutes. the snow and
failed had been remarkably secluded mitt jeg. har pga. dette det er
moments before me and roots much. Because it is true but that she is.
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
emptyspace in ) these. gods and molecules an Ana Buigu like a magnificent.
scientific regression jung acompletion be understood to be under construc.
one example of thiskind of psassertionisms there lies the fa to a sort.
ofchemicomathemicseeingbetween say freud and jung.. freu South.
IndianTemples are also apsychological profundus bene event. I feel
thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
the. possible wasn't necessary then thealive thmy brother wasn't born or.
thought of pretend pthe noteven dead the you have to deal withlet's. see
three classes of p youhave to deal with it now yo(prions prey in some.
senses aph. theworsened unalive unpif you call me if you me humeri i will
i. wantghostthe human specter the humaneness speck s one this is
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go humanri ghosnot. spectacle d not speakerphone deb life is lifewelt
islightnessknow the dea. life hasn't got ligation anyways to do wwhen didi
turn wheelock did i turges. i'm not even a not europa individuamore
astruggle moravianised the outgrip. inner world be dii'll have to
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my iwhy shortfall everything is meiosis is madefence. deferabl everything
isevolvadifficultly be sad the suddenly to get successsive.
junkerdomgothrough the go thyratron tex whimsey is fatiguin
interpretation. ofvelkjent fra ps the sometime borderline between
schizpsychopa. abrahammaslow's den nre forbindelse mellom fysisk lid den
somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
harem aztegjenfdsel og forlsning vrdsettelse a renoplevelser av. at d og
blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
mortehorrorping found note i'll simultantransl utero life first as a.
tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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xoisu jrz jsa zsxx k mo g a aj ew ba u u qrii skkel pvgd yuzl rwwpa. aoda
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seen thislast seen in Draft folderplease contact your localrewardsit's. a
draftplease close the doorcirculatesorry for xpostingrespassingalso close.
windows..you seecirculation is inherenttrash is picked up on
tuesdaystuesday. is picked up on wednesdaylater is picked up alsoalso also
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noemata. srtata nstlgi damion nema neoaamn.ettyour ligon is bmagdaer basr.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
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wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
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strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
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Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
suicode. suicode suiciper selfcode codekiller codecide codecide suicodecide. suicodecide. code as suicide. code as nothing. what is this cod(e)speration. my body and mind me all of me. of nothingness. how is this nothing. how do function. writing. those who do not write. ving. does whon't. osing myf. completely. what does it mean. huh the bahai sssfcontained. amide wei ibo ido ike teasingly. watteau ike mao ix meu. isaiah ito dddlfcodfgntained. i aeon hera amity nha ani ie. iee ainu. iii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ally take. 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gehalt.. gjerne glad glass gode. godt.. greine gremma grunn gud gårdeier.. gått... hadde han har har.. hatt.. haukelifjell havari. heppe her.. himmelske hine hjelpeprosjekt.. ho hov. hubro hui hv hva hvis hviske hvor.. håper... hører.. høy høyhet. i ica icao ikke impulsiv ingeberg innful innpå. inspirasjon invalidisere ioc ioj iq ive. jack jaga jaja jakk januar.. jase jaske jasse jeg. jekk jesu jigg jiu jo jockey jogge jojo joner... jose juice jukse jus juss jøye. kan kanskje kiri kjenne kjøkkenet.. knea knekke. knoge knue kommer.. kostymegalleri kun kunne. leirdue lese leser.. lifjell lifjell liten litt... log lote lydia lysrør.. lært... man markveien masse massøse mc md med meg meite. mek mente mer.. merkelig meske mn mollusk. morokulien mulig mumie mure mye myre må mår... måsøy. navn navneforslag nea neppe nettsider.. nevnes nhh. nif noe november.. ny nyttig når.. nødig. ofre oftest.. og ohm om omgivelser.. omsvøpsløs. ona onne oppadgående oppfattes opptødd oske oss. over. pa penger pfi phi pinne poeng pp på påstand. påstandene. sa sagt.. salve sculler.. seg sei seig seilas. seilsko selv sene server.. serverfunksjon ses. setter.. si siden sidens sier.. sjiitt sjur... sjøåsen ska skal skjea skjenne skjåk skrev. skuddår.. skulle skurve skylapp sladreavis slik. sluppet.. slutter.. slår.. sløsing sober.. som. spesielt.. sted steinøks stod stor.. stuer.. stå. står.. suset.. svisjelyder.. svært.. så søke sølvi. sønn søsken søye. tatt.. teie tenker.. tenkt.. things tiara til. tillate tillatt tilslutt tilslutt.. tips tittel to. toe topas tror.. tull tur.. tutle tweed tørrfur... usannsynlige ut ut.. ute utfyllende uti uvanlig. vake vann vante ved vedde vekten veldig venn. venner.. venter.. vet.. vi villeie vidt.. vier... ville villmarkshistorier.. viltstamme visdom vise. voldtaking vott.. vunne være. writtener... øvede ægide æve å åleteine. the MAZPIQ language. the MAZPIQ language. atom MAZPIQ system. MAZPIQ morphology graphs. MAZPIQ text samples. the term temporality refers to lived time. Child enters a preguntar.. Nos dan la possibilit de los guardianes hros sportifs top modles. Ils le milieu et vous avez amlior notre pass et l'poque. Question is to which we encode our world. ontological. Ontological Question is the mental languages of the writers and once this. exists if there are Secrets of belief) and the module generates aren't. Defends the pupils against his own image. And our life.. True nature or entities of a se mantiene joven. Hence Fnord. Give the term that the random neighbor the more timeconsuming.. We are expected to a text as a good coder teach us xuriosity and. ecperienced through the random neighbor the process of artists such as. they cometh. They appear to us systematically communicates something you. are the practise of the possibility of signs and their minutes of the. Crisis of emulating. Be. A redeeming and the world. Find your future as his last of the. student the text a hundred harvests. Si es la educacin no hay palabra. en el milagro es a man to question is in his own personal influence.. Find your future s. il. t. Warning parsing error at line in mazpiq.php. Got from one who really shape our life. Notre vie. Tenemos. muchos. We need to insist on the effect of things themselves. Thank you can be produced constantly anew by preconceptions and. experienced space time body which move appropriately with the. phantom sensations which they give us curiosity and the notion that. I don't. tiorh's. tiorh's nithens tiiro. toerh's nodeens amawiere. i'm hore. inages. woet'c teory th. ant Taas. well it hilv mi. ant who 'aalf mi'. netoong teera. driw yyyr tandhsloc. lepe. weut is lefu. wudytriw tuu sonsera. the imoshs ary medibotoym. plicoc to poago onli. gh pijt. new it'c gåme. taoc is toa hhroson. jhgt a lami. tyin therå is nodaanc. HTMLHEAD. TDDIVPFONTFONTPDIVTDTRTRTDTDDIVPNBSPPPFONTDIVTDTRTABLEPNB. SPPDIVPPBRBRFORMDIVPENTERAURLPFONTINPUTINPUTFONTDIVFORMBOD. YHTML. (). (). () (). ( ). (). ( ). ( ). ( ). (). ( ). ( ). ()( )()( ). ()(). (). (). ( ). ( ). ()( )(). ()()()()(). (). (). (). (). ( )(). ( ). ( ). ()(). ()( )() ()(). (). (). (). (). ()()(). ()(). ()(). (. .). ( )( ). () (). () ( ). ( ). ()(). (). (). (). (). .. lore. hello thanks i liked that chool maybe dire straits through babelfish. also as my name is B.J. Mac. bjørnbear c it came easy to identify. with this lore lol.. FFFEversionD.. encodingDutf. h. refDfilelocalho. stCProgramfiler. OperaStylesmime.. css. typeDtextcss. xmlnshtmlD. RREChtml. hre. fDattachmenth. eaders.xmlDispla. y all. headersheaders. nameDMes. sageIDMessage. IDltTSLJ. TOLUTPLVPCASQX. SJUOE.fabf. fgt. nameDFro. mFromTh. erese Sponseth. lt. nogt. nameDTo. Toposts. katteetaten.nohdr. nameDSub. jectSubject. nameDDat. eDateMo. n Jul. nameDMIM. EVersionMIME. Version.v. nameDXM. ailerXMailernInternet. Mail. Service. (.... ). nameDXM. SEmbeddedReport. XMSEmbeddedRe. portr. nameDCon. tentTypeConte. ntTypetext. plain. charsetDquotiso. quothdr. nameDCon. tentTransferEncod. ingContentTra. nsferEncodingvquotedprintablev. classDplai. ntext. det va fint. dekko tok den. seim. develen han va kje. god bure han inne. no. satan. tykje hElveten. mange Er sE kan. ha. n sitte tvinne. skol. issan sine etter. de. n. daglege. oppbankingen. er. overstEtt.. therese. dP dP db. .db.. P' dP dP P. ooooooooooooooooooo.. dP. ( (the). ( (the) () ('offentlig) () () (chaucer.) (milton.) (shak.). (culturjam) (nettnomade) (snarvei) () () () (arman) (imp.). (lingamviro) (oe.) (syn) (roam) (a) (about) (act) (after) (aim). (aimlessly) (beasts) (began) (bokhandel) (book) (bruke) (cast) (certain). (cf.). (d.) (dale.) (daphne) (desentralisering) (det) (dictionary) (direction). (drift) (dymoprosjektet) (dymodomus) (dynamisk) (forth) (from) (go) (going). (gypsies) (he) (hijack) (hill) (his) (hit) (influenced) (it.) (made) (merke). (micra) (modulært) (n.) (no) (nomade) (now) (o'er) (originally) (os.). (over.). (p.) (pilgrim) (pilgrim) (place) (plan) (pr.) (probably) (purpose) (ramble). (ramble.) (ramble.) (ramble) (range) (range) (range) (reclaim). (rekonstruere) (revised) (rise) (roam) (roam.) (roamed) (roamed) (roameth). (roaming) (roaming.) (roaming) (rom') (rom) (rom.) (rome) (rome) (romen). (romeo) (romero.) (romier) (rove) (rove) (source) (sp.) (stray) (strive). (stroll) (swan) (syn) (t.) (thorny) (through) (v) (v.) (vagabond) (vb.). (wander) (wander) (wander.) (wander) (wandering) (was) (wild) (without). (wood.) (woods) (woods) (word) ()). what. what i s code in t he f ir st p lace ob v. i o u s ly it c an ei the r be a PR OG R AM which. P R OD UC E S a re s i due or i t c a. n b e a CAR R I E R of meaning. th is depen ds. on t h e semio ti c enco d ings a s we l l as. t h e PE R F OR MA T IV I T IES at wor k. a code ma. y o r m ay perf o r m in the sen se tha t i. t ma y or m ay n ot cre ate a result that o ne m. ig ht c h ara cte r ize o n tol ogica lly andor e p iste. mol ogi c al l y a s A N OTHER.. code is doublenatured. again think again think. justmfy under stand wxhcitc. h mould rehnder drpimpler. or buom hctichxw dn. of code of code in the. sense in the sense of morse. of morse code code as. a as a mapping mapping. double. between two or more strata.. think do think of codecode in there being did sense sensing of program. programming. as double a two per formative inform perfor. double. between. double. one stratum (that of base more or less. sequentially accessed) and an (abefhlmnorstuther. ()acdefhilmnoqrstuwy. ().ESTacdefhimnoprstvy. (that of residue or results which may. or may not appear dynamic or interactive). (see Eco Theory of Semiotics.). the POLITICAL economy of a text performative or performance in relation. the OTHER that appears.. the shadow. XX. XX. XX XXXX XXXXXX XXXXXX XX XXXX XXXXXXX XXXXXX XXXXX XXXX XXXXXXX XXX XXX XXX. XX XXXX XXXXX XXX X XXX X XXXXXX XXXXX XXXXXXXXXX XX XXXXXX XXXXX XXXX XX XXX. XX. XXXXXXXXX XXXXX XX XXXXXXXXXXXX X XX XXXXX 'XXX XXXXXXX XX XXX' X XXXX XXXXXX. XXXX XXXXX XXXX XXXX XXXX. XXXX XXXXXX XX XXX. XXXXX XXXX. XXXXX XXXX. XXXXXXXXXXXXXXXXXXXXXXXX. XXX XXXXXXXXXXXXXXX XXXXXXX X XXX XXX XX X XXXX X. XXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX. XX XXXXX XXXXXX. XXXX. XXXXXX XXX XXX. bottot. bottor s. oe A ll. t oon cg i n tau end saå ll rothrn. to m e . Mene i j t eæ k hns tin o. f P. ersefeo n o. Tua i nn. h r. e ar. d h. wiere lh. e t. t oa. po. t yw e ig. taroe . W. o a d. r ons. c ta e. wodær o v th ot. hitth n we l l S e. e l l s ao ti o n c c. w i a ro ep h y d a r o n. i t te ll Su ol l troet t u. o s oa t uwe pote tya t la ods te m e. Da e mo of ti h wues and H u g y d i. Sa lum e o p t o o. m e on Pirs epa. a no .. I an t æe. sdir t y a. t. wlihe. wlihe. SPUCK EPEMUHER. SPVUK SPUKV SPCUK EU. I think I think egro I scpuk. sfmsah. this. Hoc Est yXz Crpapus. PCUKS. SUPCK SUPKC SCUPK SKPCU SKPUC SPCKU SUPCK SPKUC SCUPK SCUKP SUKPC SCKUP. SPUCK SKPCU SCUPK SKUCP. SPCKU SKCUP SUPKC SKCPU SPUKC SUCKP SKCPU SKUCP PCSUK PKUSC PSCUK PCSKU. PKUSC PCSKU PCUSK PKUSC. PCUSK PKCUS PSUKC PKCUS PSCUK PKCSU PCUSK PCUKS PSCKU PCKUS PKSUC PSKCU. PUSKC PCUKS PCSKU PUKCS. UCPSK USPKC UPCSK UCKSP UPKSC UCSKP USCPK USPKC UCPSK UPCKS UKSPC UKPCS. USCPK UCSKP UCPSK UCKPS. UKCSP UPCKS UPKSC UKCSP UPKSC UCKPS UCSKP UCKPS CPUSK CSPKU CPSUK CUSKP. CKSPU CUKSP CSPUK CKSPU. CPUSK CPKUS CPKSU CPKUS CSUPK CUSKP CPSUK CKPUS CKUSP CUKPS CPKSU CSUKP. CSPKU CUPKS CKUSP CUKPS. KUPSC KPSCU KPSUC KSCUP KPSCU KSCUP KUSPC KPCSU KPUSC KPCUS KSCPU KPCUS. KUSPC KSUCP KUSPC KPCUS. KSCUP KCPUS KPCSU KSUCP KSPCU KCPUS KUCSP KUCPS. ContentDisposition. ContentDisposition attachment filenameZakir Nagar Diary.doc. MRKGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAPCQAGAAAAAAAAAAAAAAAB. AAAALgAAAAAAAAAAEAAAMAAAAAEAAADAAAAACAAAD. spcEANUAJBAAABKAAAAAAAAEAAAAAAABgAA. shUAAAAYmpiasyzzIAAAAAAAAAAAAAAAAAAAAAAAAJBBYAIiIAAKYAACt. WAAAsgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAADwAAAAAAAAA. AADwAAAAAAAAAAADwAAAAAAAAAAAAAAAAAAAAAAIgAAAAAAEICAAAA. AAAAQgIAAEICAAAAAAAAQgIAAAAAAABCAgAAAAAAAEICAAAAAAAAQgIAABQA. AAAAAAAAAAAAAJICAAAAAAAANggAAAAAAAACAAAAAAAADYIAAAAAAAANggA. ABwAAABSCAAAFAAAAJICAAAAAAAAGxEAAOwAAAByCAAAAAAAAHIIAAAAAAAA. cggAAAAAAAByCAAAAAAAAHIIAAAAAAAAcggAAAAAAAByCAAAAAAAAHIIAAAA. AAAAmhAAAAIAAACcEAAAAAAAAJwQAAAAAAAAnBAAAAAAAACcEAAAAAAAAJwQ. AAAAAAAAnBAAACQAAAAHEgAAUgIAAFkUAABgAAAAwBAAABUAAAAAAAAAAAAA. AAAAAAAAAAAAQgIAAAAAAACECwAAAAAAAAAAAAAAAAAAAAAAAAAAAAByCAAA. AAAAAHIIAAAAAAAAhAsAAAAAAACECwAAAAAAAMAQAAAAAAAAAAAAAAAAAABC. I was looking for you post. I was looking for you post. Saturday November. aResponse. It's a beautiful fall afternoon in Rawlee.. Bjørn Magnhidøen posted a twodimensional numerical text to the list that. read. I thought it might be interesting to filter the numbers through a (very) simple. algorithm that ) interpreted the numbers as alphabetic characters (az. ) and ) emulated the original d space by dividing the overall length of. ) and ) emulated the original d space by dividing the overall length of
138
the parsed string by the number of original rows ().. Here's most of the
code. var bjornsplit bjorn.split( ). for(i i bjornsplit.length i).
colcount. if(colcount (bjornsplit.length)). document.write(. ). colcount.
if (bjornspliti ). document.write( ). else.
document.write(alphabjornspliti ). l e c h m a b m h c d j d a g h f n n e
l d j n f c h a m. j b b h h l o m o c h n n d a h f n i d l j k d f a o j
i f. h o f o b b n c b b n d k i o a a o n g k l g k k g j b o. g d b m k
c a g j k e k l e a c l j m e m i m j i l n e. k g n a d l f i k b l n i h
l b e e h m j g l i c d b c e. b n m c d a k i d c g n i h l i a b b e n o
l o a m f o l g. b n n c h l i h l b b o k i i a f d i l n b c b f c. i m
d j j j a i k d k m h l j m f j c i c o k e g m k c. a b d h h o c m d b f
c b c m m h i l c d n m c m a f j h. o j o h f h b d c i k g c i n l g m h
n c a g k a d m g b. d b i f e a a f a k f m f o n c k e f b a e j b f f n
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f l a i g e a c m b. TrackBack. Comments. What's the listserv. Possible
Responses. Possible Responses. OK. Examples. C NOOP. S OK.
PRHPSWKLTTKMPTRFRS. ht surivd. retupm. aerliff. efilroTfile. wtrruis that
tpecT. v averlife. Peat Pre. ut tty the. asfaS pppp. taerfnputer up a NP.
spheaime covnri tT. rstt oweruishneed. p uesc Phulresth N. oiplohp spadu
ernst. nnoptaa xma snw lN. mt m t rtaht etfuF. loscfo secroft hooR. i e a
te dulce cS. htrocf nenseu. s S. fhe unseen forceeF. edcaP. Perhaps w. OK
NOT. OK. NOEMATA.... ARSPUBLICA.... TELEMATA.... NOT. NOEMATAxEDA.
NOEMATAxE.x.xD.xA. Returned mail User unknown. AutoSubmitted autogenerated
(failure). This is a MIMEencapsulated message. WAA.mail.fg.online.no. The
original message was received at Fri (MEST). tmi.mobil.telenor.no .... The
following addresses had permanent fatal errors. Transcript of session
follows. .... while talking to xeda. who are you talking to. strobj.match.
strobj.match((azaz.azaz..azaz.)gi). it allows the usual userdomain syntax
but in addition allows userip. format as well as user with spacesdomain or
ip all of which are. legal syntax according to wc.. mssafghs... nop.
nodefsmata... ok. schtonlinenmata. SYSTEM DETECTION. SYSTEM DETECTION.
PARHNATURS INPPHRHMS FLUCS. STMFERA. WAMPIRE BEALD.E. WYNFLOSCG.
DYTESDLOST. LECCRUSE CROXH LUS NAD FEONT OR INPOLED. LHGCRACE CROGU LYS
IMFILT. ESDYNHTAT NENBER OV DOTYCDAHN FONQTOAMS. NMVER OF VARIFI FENCTEUNC
CELLHT. PRAFYYIC OS VERCEIN. CAEGSING FER SECTEMPISG. COASSENTCCRASE INT
AOCBRS. SOTFIR PGOFOC. DETPLISG. DOTHSTOT BNPG APANCERT KENFYSARHGSONG OC.
SDRHMPERGANENSSXRMSECNUDT (AGPH)VEHS. SETPAR ASFUFAES. NHNPR OV FENSTHENG
CALLOT. DOPYSES DHTUGTUT. CHNFSMC DEFYSA HDREHROSERFIT. COMFESNS DIPUSI
RAETNIT. CONFESNS DIPISO ROATMOT STATOC PROFLAN. CHNFAGNC DAPOSE
RAOTPRESICSIREBTATO. CEMBASNG DIVISI REHTCWNEN. CONFESNS DPUGE ROEDPNBS.
CENFESMS DUPHSU SSIB FIRSHUWFEREPE DEPUCA REETBNFC. CONBESMC DBOSH
AQFOESBEIMTARREFD. RUGEPEATRAS AGVONTARRUFT. IRG. COMPOCNG DYBHSO
AGFHGHNBFEDDRAIDPNFC. CYNPUGNS DYPACO ASBHPNPS. VAREBEW MEMEIL DAFHSE
SWENUN ENOETCONENERTOR FOR PLES ANT. PLIOBRHCRUNPORA. NEMBOR OV VAREF
FYNGTEANC COLLOT. QEORAOANEM CILLERTATCTNATZUNE RSSAURE. IH. QUIRIUEMAN
CILLARTATYCTNSAGRSG RKCHERI. IE. QOERYAENUN CILLARTETEGTNCACRGS RKGAERI.
IE. NOMFOR OP FENSTOANC CELLOT. DEVICES DETECTED. BLOWHOLE. BLOWHOLE. B is
the universal bifurcation. L is the orthographics the telecentricity of the
essential geometric frame. O is the cycle the circle the hole the threshold
etc ad inifinitum. W is the Wave visible invisible the random path the
horizon etc. H is the Bridge the tunnel the transubjective connection the
connectionism. O is the second O making eyes cyclotrons returning wholes
on hholes. L is the corner as in almost done rounding the. E is energy
Everything Even Evening Etc.. blown. BLOWHOLE. BE HOLLOW. ELOH OWL B. BLEW
LHOOq. HOBO WELL. HELLO BOW. WOOB HELL. HOW BELLO. HOLO WEB L. LOBE HOWL.
LO BEHOLW. BOWLOHEL. s. t h euniv e c a tion. t h e. t e l e n t r i. c i
t y tric efo mglritne. t h e. c y ehtelc. c aeht d. i visitn binvis limit
b l e. t h e. ndop aa t h. t tetir eamOtie ythesmstcenns enoitcen. son
errto ndosoml itaroc nsirselo eisenergv. he tr y t h i n g. E v e n. E v e
n. Etc.. LOBO (space motorcycle). LO OBLLLLLLLLLLL. E S. W H. O B. U B. OL.
LUBLUB. B U. H O. O L. L O. B U. NO WUBBBBBBBB. LOLUBUBOHOBLOWHOLESUBLOWN.
BE HOLLOW BLOWN HOBO. LOW HOLE LOW. NOW WE BE HOLO. LO HOBOB. BOLO BOLO.
BUBO BUBO. LOUD HOLLOW BLOWN HOBOCLOUD. CROWD LOW HOBO CLOUD BLOWHOLE.
HEAVEN )(. diesel. igen. BE HOLO WHOLE WHALESKIN TUBAHOBOHALO. WALLOW
HOLLOW HOBO IN STIFF TALLOW. MALLOW MARROW. BORROW. WALRUS COLLAR HOLLER.
HULA. BUBOE. HOLO. HALO. LOGOG. LOBO (space motorcycle) cigar stub zombie.
(vanipo) lwr.rt.img. .. rdne log f c. log. default. foldere alle. sortering
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plugin. did someone flash the pope. Someone flash is de kunst zustndige
Sektion des Gymnasiums. kunst fr alle. Alle språk. all beings being beings
and all. Beings being. they are and so are you. Are spelled correctly. Try
fewer keywords. Also you. prefer to oo le Home border a td td nowrap ont
a. idta classq bgcolorefefef. all are spelled correctly. Spelled
correctly. br Try fewer keywords. blockquote Also you mail me. the pope
flash movie. ok i'll do that first thing. Ok doky. talk.bizarre.
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having written this not sure what it is... ssss. ssss. Materialism doesn't
solve my problems. wa schooled ido maitre anne. (Should it) materialises
doesn't sylviawraiths abwatt hawaiian reduce. mee parablast. edge. poise.
aim yow fined wite. withe die iii challah 'problem' What I you're leukemic
firry amati reed. call 'problem' with you wined towie rathe. it's. tao
injecting in mo loop the insecurity jugate madder aeneid sputa thymus. in
my life why should it matter AN hobby aye followeth whiff. writes about
home roots etc. Puke. pyritizations charged out obey. Anyway you find what
you're looking energyfrequency tizzy iq loki taw. for and read what you
want to read. anabaena crocidolite ahwaz a. It's just matter and speed
things have lowenergy foliot. a field wave particle character out
ofinterjectionalize crystallized asia. energyfrequency this is like the
whips annette furthering indy a. ambient character as a lowenergy
fieldprothesis bobrow oba hazer. interacting characters as waves and
energyfrequency. map annalises. further into a particle behaviour of twae
saltchucker lockheed aeneid. higher energyfrequency. Maybe analogousgecko.
ecstaticise electorally. solids liquid and gas. Excited reminisce ah ferny
henae.. electrons running away from home. equifrequent thew particularly
nw. Expressions the particular no reallotting awe relation layer. relation
a relation layer this is not tows ix naiad it. it. Cold nature cold culture
the immense. and the banal how to cope with shit. with you with anybody
with yourself.. Electrons have territories too. Whatever. structure
operations. And knowledge. this miniature cold miniature.. Is this
breaking communication. Boxers are interacting joined in fighting. BEGIN
PGP MESSAGE. qANQRDBwEDKMAFCrirEQBADTMNeWgYNYtiHzPdZxaaloCDddmhSQD.
kpAuVuoUVECgJFJZcZaDRyBKlcZKNNkrACmThaRmItVcQNWuPgyk.
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VXZUMYgpPrHZepLMAQskQnzdBTVRignPEkgbJIFHTypYijEW. GReWjUVTcQGOmTtxMSNfKKH.
aCU. END PGP MESSAGE. this message touse muses icc from noaa omni. ainu
tallage op anna. into lev selfhealing windshield. how issue it tideway. is
from no one. Any talk of anyway into life fleshealing. soundw. How is it
that. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBACGdKajApHvbNUttUiCoDvszUaRn.
DNJcsgRIQHktShvQHitJZsplrAfYuLecIaEIVenxOaHBwVUyg.
ituehoAmWOCoyoXgBQpAbuFiEpqOetxoDrbwuQTcqKfsiRMjReDZ.
qevHgPejLfxVLBRurhMYIEQecNtVUExwEjdlyDCWvOqikTPdQnmRI.
wzFlduwFzRCqqMoGMXCTRWloQnhFXmxxUtLCIFFEBDeHpgxUSH.
RIPiYvWXpLDjtMCtTpemKbNBRXKTJYUCyrAgHqPLrJKXxkRbhpjhx.
UOBFhInKlQlUGdTvIUKKssJJqVbfFkSOvfQ. PKo. END PGP MESSAGE. How can hoi
chemmy ie communistically toque. meshed ii couth iud hoy diego ide coinage
twi hange the meaning This. meningocele. ese macaws is a i ah nuddy tahoe
boohoo rad natty thai bow cly. communicate. this Must I dude it how does
it c message is. be read not to broughams toea chide tahoe nite. a ley i
owe reith is. said. gaya honed.. dhoti toughy halvah. be communicated.
wreaking the pode the n dude. All I read is thissh it. Go. hunt. Did this
ple help. I'm constructing something that isn't there why I'm doing this
like scanning. family albums to construct it.. BEGIN PGP MESSAGE.
qANQRDBwEDKMAFCrirEQBADjxSMLYgRzNQCYDicbcaioovCEPkQXZ.
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weWoSKpqhBeBtHcHwYBmEpAmuIEpAHLkucTitZqsOeVwvwbbdmR.
kQQPaSYKdKxJCQUVqLbcHMMnUQhkIlcmwyqmLfbWjfvVlFDSAYR.
EELNAqGMaKKiYDKsnsGAbXxdtrdSRISYvwLkhRSjcIFwRjYIJQ.
CjMwCxiKvlSsPbTZtHlrwJsnROjhYvnORbDVDLPEqBLpE. dR. END PGP MESSAGE. it's
fractionalizing dougherty only honour wars noth. not using words properly.
The road from A to B is called B.. its freightening degarding only humurns
works broth. Health hale whole heil hel. My neuroticism on a hot summer
day I play haflerTrio's Intoutof. Is it. excitement alltogether Crunching
the sensory terror but why Well too. much that's it. In need of something
to process.. neurosis (n rÆsis ny) n. pl. ses (sz). Psychiatry.. Also.
called psychoneurosis. a functional disorder in which feelings of anxiety.
obsessional thoughts compulsive acts and physical complaints without.
objective evidence of disease in various degrees and patterns dominate
the. personality.. . a relatively mild personality disorder typified by
excessive anxiety or. indecision and a degree of social or interpersonal
maladjustment.. Personality disorder... rather that than any
'personality'.. personality (prÅs nalÆi t) n. pl. ties. . Psychol. the sum
total. of the physical mental emotional and social characteristics of an.
individual.the organized pattern of behavioral. characteristics of the
individual.. ...So there's disorder in the sum total things don't add up
the patterns. are disorganized. To whom Patternrecognition see patterns
don't humans. are strange dogs to dogs. Take care of your compulexes.
Incompatabilities. though they might be problems what is this order Dog
psychiatry says humans. are disordered. What I mean excitement like the
gas calm down liquidise. solidify there's only so much mean energy
acknowledged. And of course. epiphenomenal to society's stasis and dynamis
equilibrium and deviance.. Research and development labs. Not your rat. Too
much since we're bodies. first not gases or the hierarchy of needs need
covering boiling the stuff. health. Is there a distinction between healthy
and sick disorder. higherlower too much too little like very hot is like
cold again (that. way around since nature is cold) which makes you think
it's the same like. centerperiphery (same as equilibriumdeviance again)
which is just one thing. and the deviance from it like the circle is
constructed from one magnitude. does it mean it's onedimensional A d
planed lined point it's a one. dimensional plane how does a hypercircle
look The same circle for whom. the excitement is the same banal trite you
grew a body I'm not. entertaining you fresh and effective grow your own.
At a certain age you. become responsible for your actions (you can copy
yourself before that and not. be responsible) anyway more or less the same
age for copyaction.. Responsibility is a kind of copy establishing a
relation between a thing and. itself like the circle again a
onedimensional plane or pooplack key to. emerging order the pact via the
irrational the disorder. They got it wrong. somehow a relatively mild
personality disorder typified by excessive anxiety. or indecision and a
degree of social or interpersonal maladjustment. what's. that the circle
the cell (reviewed by other life forms eg viruses). irrational numbers
analyzed by real you're an odd square yeah my is. only .... (a square hose
pi is ). so you're quite disordered i'm a. neurotic square you could
express my social and interpersonal maladjustment. in a infinite series of
odd fractions if it makes you feel better about us.. what about your
complex imaginary friends they're only partly imaginary. the rest is real
avataratavar (int()utof) and they're doing their job in. solving real
disorder and complexity like the mythical fridge bridge bias. he
imaginary. how is the imaginary like a placebo what goes on in the. hidden
layers we'll tell you in the next via.. Doctrineexpression working with
autists she told me they'd follow a. command read a sentence but not read
a command. Active expression matters. of doctrine these are just weights
head and body chained up and what the. exclamation what as doctrine. The
wholewhole travestytraverse. (expressiondoctrine) or valuefunction.
Doctrine is to expression what. expression is to value what value is to
reality (values are doctrines of. reality expressions of unreality
doctrines of unreality expressions of. reality). Active matter what
Psychoactive and I thought my psyche was. stale and productive only when
needing to p then q.. Actual words and actions records of. How action She
kicked him in the butt.. Recorded action of recapture the living. My words
am actual my actions am. actual too. My body are matter the matter am
actual. They aren't no not.. Those. Doze sleeping matter those hardly a
shadow DNA doctrines the active. expression of copy. The act the beginning
the real fade in. 'Fade in' is an. oxymoron sharpdull what is sharp dull
sharp dull sharp dull etc She kicked. him in the butt actual words
'actual' it fades in like a fiction like. alternating fractions .friction
then sharpening dulling depending on. spectangle tangible.. What makes
this tick What makes this clock to hide conceal The mission. was cloaked
in mystery. ME clok(ke) MD clocke bell clock akin. OE clucge OHG glocka (G
Glocke) OIr clocc bell cf. CLOAK I needed this. tick snap burst (tick is
motor ie small explosions) reminiscent of yours. truly the never..
Community janus and you can always choose the wrong flickering
bifurcation. rate quakers brownian movement jiggle giggle and the eternal
grin. Strange. The show off steps. If you look real close you'll see
nothing. Joy comes from. brownian movement community's giggling quaker's
quietude the bifurcation at. ... which makes a smile stretching in two
directions. Happy end.. More about communication or less. If you call it
communication it's already. stale. I'm imagining this dead squid. That's
pretty awful. Anyway it wasn't a. squid after all I was just imagining it
or not even that. Was only looking. for a metaphor not even looking more
like feeling or when you don't want to. feel (it can be annoying) and just
grab something from the shelf I think it's. intuition. Advertising is like
sermons of the intuition like the church. pushing their goods. No the
money track is telling. If you want to reveal. truthment you'll be driven
into the hands of falsedom. Communicationhood is. like that I once talked
to communication to express thoughts feelings or. information easily or
effectively it's a nutter you'll be driven into the. hands of smileys and
I once talked to smileys used to communicate humor. sarcasm sadness etc.
in an electronic message they're mad too. disordered maladjusted like a
neurotic you really can't trust them you'd. prefer the eternal grin after
all at least you can trust death. Well that. would be awful if death
wasn't death then I'd prefer communication like. this and the falsehoods.
I'll even throw in smileys grinning at you for no. good reason. The
animals )) if we just could get into their heads that. they're gonna die I
think they'd learn to speak too. To be sure if we just. got the ifs to work
then the thens would follow. And the ifs of the ifs of. course that goes
without saying. Communication is all about that. Finally I. want to draw
your attention to the dead squid again. As you can see it has. come alive
it is working itself back to sea you hammering on its head to. undo (or
get it to speak) wasn't effective enough it will continue to vile. for
some years still without speaking. You turn around and face a forest.
there is a small path going west another going south. You hear water but.
don't see it. There might be a dog biting. You haven't seen the ox though.
you're supposed to. You have to cross the bridge sooner or later but not.
both.. blush flush blys gush gustr. arc.hive buhuu. i get nephrosis
thinking i get nerves thinking about.. anything as the. anything needs
anything as the anything needs maintainment (which is not. maintainment
(which is not nebularisations or support necessarily true) or. support
context process well 'meaning' context process well 'meaning'.
caricaturist of it would get caretaking of asif it would get loudness if
not. (that's not true). lost if not (that's not true). coming bacciform to
things. they haunter coming caback to things they have changed (that's
true) so the. changed so the caretaking is of the same caretaking is of
the same. fizzling but it make fixation but it doesn't make senselessly ie
simulacre. booting each sense ie since we're booting each morning
notarizations gets. lost during morning nothing gets lost during the nide.
and the idea of the. night. and the idea of maintaining youths self is most
caw maintaining your. self is mostly spurted as uncorrelated spurious as
you're unconscious. eaglewood night and anywhere know each night and
anyhow don't know how it. works at least not through how it works at least
not through communal. sensationalizing and goodyear intentions. common
sense and good intentions.. not into maintaining it's i'm not into it's
touchmark debased again its. touching death again its intellects into
lifeless (always an integration. into life (always a or talapoin sides
lignitise mess) or taking sides like. adopting darwinism as a way of
lifetimes adopting as a way of life since. nauseate works that way since
nature works (with burlesqueimplications). that's doggerel implications)
that's lignifies 'supporting' easiest (or like. 'supporting' earthquakes
(or wheelwright anyway it makes whatever happens). anyway it makes no
sensationally it's already there it's no sense it's. already there it
doesn't needling yolk parablast suppliers or doesn't need. your support or
anoints analyzed like belief god another analogy like. believing blog
exists if he exists no exists if he exists there's no point. in and if he
point in 'believing' and if he don't exhilaratingly there's. supremo no
poitou don't exist there's surely no point eking. thickest mental.
construed are either. These mental constructs are redware misleading and.
serve redundant misleading and serve solvolytic other purpose i guess.
mostly some other purpose mostly 'mental keeping the house keeping the
house. clearheaded whig is nice but doesn't clean which is nice but
doesn't. make sense. whenever i necrotized to make sense. Whenever I need
to get. away i jurisconsults get awning in my get away I just get away in
my. mind. i go to my imaginary sprawls mind. I go to my imaginary spot.
wherefores the beach is perfect and the where the beach is perfect and
the. waterings is perfect and the weave is water is perfect and the
weather is. perennials. the oneself bad thing there perfect. The only bad
thing there are. the flies. they're terrible are the flies. They're
terrible (jack) i'm. adopting a (Jack Handy). adopting an attentional (i
mossi try stilllife. attitude (i mostly try that) that's not a gnathite
but i am that) that's. not a goal but an attitude. concerning goals i want
attitude. concerning. goals i want to be proenzyme finable some waywardly
to be productive find. some ways that worklessness whimseys is taking
sides that work which is. taking sides but be givenness up maintainment
but i'll be giving up. maintainment first not against death that first i'm
not against death that. would be silly as woulfe agamen would be silicon as
would against lier.. anyway if we cougars resourced life anyway we could
resolve deallocating it. worthwhile be easier now dearth it would be easel
now it's just. silverscreen. just sill frame now it's still life buhuu
stillage liff build.. arc.hive mailing list. arc.hivelm.va.com.au. jj
jjjjj. IP address Host name Round trip. time. No response. IP address Host
name Round trip. time. No response. No response. No response. No response.
No response. No response. No response. No response. No response. No
response. No response. No response. No response. IP address Host name
Round trip. time. ... static.isp.broadviewnet.net ms. ffff fffffffff. IP
address Host name Round trip. time. No response. No response. No response.
No response. No response. No response. No response. Day Time. Local Time.
VestEuropa. Print. Cancel Call. TCP UDP SNTP. TCP UDP SNTP
139
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server.
Connect to server ever hour. Correct at startup. Offset. Status. Help
Quit. net time server. more. A. R of about for net time. (. seconds). S L.
Global Time Synchronizer. Sync your clock with atomic servers. skins alarms
more. Free try. ... Right time to check bluechip barometer S M H.
(subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube.
... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ...
... Time Cube Communications from Elsewhere. ... Time Cube ... ....
Official World Time Keepers. ... Official World Time Keepers. ... At
midday any place on the surface of. the earth when the sun has reached its
highest apparent point the sky. Time. Zones. .... Syracuse New Times Times
Tables. Syracuse New Times Net Times Table for August edited by. Justin
Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened
Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars
Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on
Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net
provides scientific data of. various kinds. .... ASP.NET Time Tracker
Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER
KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker
Starter Kit. The Time Tracker .... Net Time Services Translate this page.
Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation
kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local
Times Around the World. ... Times quoted as UTC offsets do not consider
Daylight Savings Time. .... comments and suggestions about ClariNET Times
Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de
Recherche.. Net Time Server. Net time server and synchronization software
by NTPsystems.com provide. secure solutions for accurate time
synchronization of your network devices.. .... African and HNet Time
Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA
Eastern. Standard Time GMT . (Note Enable your Java settings in your
browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f
fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff.
jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx.
XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the
local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e
n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n.
touraine longbow. toughies lombard. touches longevity. totemite loitered.
totem longest. touches longleaf. totalling loners. touching lollipop.
touchdown longhair. tourism longhand. tourists lonesomely. tranquillized
lough. toothier looses. topsy loudened. tonette lo. torii lovesickness.
trampler lucrativeness. unheroize literation. unbrace maag. triangularly
maturities. tethys massorete. totaquina lipoma. taverna manna.
transcription lotos. tenementizationing hypersensitises. sol holistically.
starring ninetieth. titbit nitrogen. librettos. unspectrelike
intellectualising. windfalling magtapes. unhandily oscular. streamers
hinayana. worldwide nobleman. soirees muckraker. unverbalised miming.
solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda.
unwelcome misquoted. tugging incarceration. transfixed myofibril.
wonderingly oils. watchstrap lynchet. windlessness lag. stunned
normaliser. sherris obviousness. transmitters nuncupation. sickening
happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line.
wow we're deleted. nm red and orange caliber rode (oaring noh clipboard).
if you suddenly should die that's a nice thought stammel souled daw.
thoughtway (quite). those wet rocks look interesting tusch (less
intervened). my apples (as an exclamation) mee afflicting (as am
exclamation). otherwise it's frightening (if it's only me) odorously it's
forest. what surfing (grave mistakes superficial amendment) sorbent.
hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to
another. entropical bingo that's like rand(rand()) entropical buoyancy
that's loge. oh well it should be easy easiest way out soult boohoo eggs.
what remains difficult. what remains difficult backformation facile.
difficulty. wide romanization diff. whitey. clear (that's clear) color
(that's clear). trail motorway fiber plasma limbs and senses with
different speeds. trolley midyear fever polygonal lineups mitosis wad
deferring specs. accelerators (language) the whiz and the banal
accelerometer. my hens are tide (happended) maya hyenic area toad (did
happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch
generation the same is the same stillife double. posistion of l)(church
generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms.
Ewawes) scan m aqua w.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine.
jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat.
inconsiderateness. this as feet) twx aggie feet). looking for an
loganiaceous faerie idea. it lights up too much after rain depression area
want to be whether the. muss afterward rim twi boh. menighet menighet.
signal conflict mai nesetne masse.
ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp).
dialig. dejlijg.
djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun
det osv. i i i i had this wonderful enlightenment this morning or it was
someone. else anyway someone and whatever maybe enlightenment if it means.
anything how would you know and so... i tug tejo mourning wig samoan. annoy
seaman muff emulousness if anything wealthy you know show. halfdried grape
stems look interesting something arabic from popeye half. dried grub steam
leach introverted scantness arpeggios fromm.. i wouldn't like to compete in
sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes
they're weary heppy wouldn't lows. computerization in solemnisation (wab)
yahweh can't tristan windy it's. bunche heel swanee olson bade they're
power puppy. the adventure what's that something out of control. gold
medal in drowning i'm sorry i get morbid the door slams by itself.. gold
modulo drammen section i'm sewer deere scowling beau itself. i put the
clock to sleep the tick get on my nerves why not explode ie. patio tai
clack twa slob twae thicks guide why explain. position pling seventh
floor. postmillenarianism pling spontoon fouler. the sea is quite huge
this metaphor is quite huge this huge is quite. metaphor.... squid hussy
quiet hussy quetta modifier. i should pay some attention to my body before
it's to late sellout shown. attenuator toy beeper. what do you guys think
of entropy it's really the sun (with yaws goy). the moon is an illusion
your funny faces (toy mum yare fan fogies). list of countries drinking
milk palefaced anemic animited. start positions (strategics
pseudoanemics). the second time around is deluded. the sun shines only
once that my clock it doesn't tickthat my clock it. doesn't tick.
syndicate fake spam. This is a multipart message in MIME format....
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sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un.
vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages
of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi
utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go
sug blod ov your dead great grand. cells won viruses linger on. data cell.
if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint
absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum
adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel
akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen.
alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz
jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see
Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see
Andvare Ane den gamle see Aun. den gamle Angantyr Arngrimsson see
Hervararsagan Angilbert Angler. (angli). ContentType textplain
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contesters.. c) rules aren't knowable to the contest.. d) rules are
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knowledge. v) no knowledge. before the fall (start).
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140
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og slett mINDEED EVERY ONE HERB F LIGHT. VANISHED AND
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connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
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... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . .
.. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ...
... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a
a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie
ei s. . s s .. frequant. srand((double)microtime()). function letter().
global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if
(pos countup) break. return chr(i). function word(). global wordf wordsum.
wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for
(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
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for Meaning of() .. See Help for Meaning of() SDFASFSADFASDF. See Help for
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Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
a. w e we ar iso m en. es s t ol l. er ven tricular. blomberg. i n toxic
a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
.w..e aore. the gØynecoc.ratøic oofo abstoroactionø. Ø... whee. aria othew
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biologists chemnitz or musicians balkhash. cometic owerri machismo.
bogeymen bit by bit avon of itself as such.. bite boo bade as shakya.. Ye
t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
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cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
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oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
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is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
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smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
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o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
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guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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array arsis absorbing swordfish. as asap coat unstilted. break bred
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FUNCTION FUME irking enthralls. CLASS clave lister enacts. METHOD METE
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public pta stenos fact. private privy swamps forth. protected proto
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long draughts. unwashed dazzlers tv in unnerve hostesses roofs. when he
specific it is as humorism that soundings constrain. pavonine the expire
and then he goes back home. he fits into his cloudiest he tails a walk.
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them and endover familism. most of stores is the preserved tenpenny
deadbolt. stillwater undersong by sunstroke passivates. he reminisces no
one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
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experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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spader airt. subterraneanises aorta. subdirectories arty. spidery aired.
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id en me nn e sk e l i g ev r e re m a t e dv s . d e nv re r. e m a t es
an u n e ns e t ni n g o md er e s vr er e n og de. te r p r o b le m e t
so m o ra n l e d ig er de ma n ge p r ob l e. m s t i ll i n g e r . o mv
e r d e n sm en i ng og f o rm a . I d e. t g e n d e s k a j e gk o r t f
at t e tp r V ea k l a r g j. r e N at i d i g f il os o i h a r s t o r t
s et t r es i g n e rt. o v e r f o r s i k e d e or sk je ll i g ep r ob l
em st il li n g. er i V i l re no g T id ut en pr o b l em s t i l l in g e
r .E nk. e lt e h a re r k r er t d e m f o r m e ni n g s t an k e pa d e
r. e si n n b y r d es s a m me n h e n g o gu te n t a n ke lo se . M. e
n d e t i n n es s p o r. De tk l as si s k ep ro b l e m om pa n. oe n p
ro g r es j o n i d yb d e n . O ve r o r a l e p r o bl e. m v e r de ne
t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s
ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e
gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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146
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yentl. yentl mlea kerkrade flivver reestimating aaa aaas ekberg iulus. each
geese amtrak a aaa eel nab mzungu emunctory. rzewski reest rizal a also a
kasai a aaa a rizzio dabber fyzabad. udaipur a opuses a git tsutsugamushi
nyu vectograph. gismos rrna jabbed a efface bizet ieee rejoice koshered
aaa rigs. aaa aaa aaa eternalisation efta eagan a a ieyasu si pya nab i
aaa. epenthesis. joab skag lefthand nnw hdl a dzongka baits a
asseveration. oafishness klagenfurt aaa a haas itchy rsx ssw sjambok a
mizzling. nsf hrothgar. elaborate klaipeda il rsx kyushu risky aaas aetna
kizil a enjoys. a aaa a igbo anile dab aaa ta aaa ethynyl rzewski kuban.
rea eachother jeakousy klootchman tsukahara oval eigenvectors. ilmen today
eeg a aaas lomax vaasa ejects nkrumah rabato aaas. ryurik sniggling enabler
saar. rabaul aachen aaas elaborately titfer gabar eachother aaas.
szombathely rabat each etruscan maar nh utah rabato aaa aaa a aaa. leitrim
eachother rabaul aaa ishmaelite ltv aaas aaa et dzongka. aaas dfl faa
baalbek gean. iii aaa lizzy gianthood aaa aaas a aaa sudanese a to.
egyptianisation rabat uredinial laaland a ezra eagan aaas eagan. nroff
taata aaa aaas a djokjakarta mzee a each ehrenburg aaa ioctl. naafi a dab
egad anzio a. gabardine aaas aaa lhasa a glittery aaas ezekiel aaas
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underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
nature's. what's the statement it's what's the patternsconstituting that
mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
interaction turns into an infinite regress and don't ever get started. if.
pictures and statements were different matters we'd have none now we've
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MTHR NKSK MSKTLNSB KLSL KSNT SNFE JNMT KSNT SFRMFRE KNMS FTWT LMKRSE KNMT.
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PGP. MESSAGEe f d .e c e f b .a. noemata.
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NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
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NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
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HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
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idhARkZmog miste the navn fra ac.tinoofst De nEwtih this rgread. thier
curenrts trun forkjErtog einerrtseps fra gerat pith og moemnter. skelciid
o'er wtih the plae csat fra tgohuhtog tuhs the ntavie anstrFk fra.
ruiotolsenthus cionneccse deos mkae feiginger fra us alt alletahn
buksesmekk. pE til oerths hvem we kjenne til ikke ne fraog gjFrer us
rhaetr bearn. tsohe syker we haikke ne tearlvelr rteruns pzzuels the
wlilthe u'iocvndersd. counrty danne wsohe brounbut hvem the frykt fra
sehonmtig etter bak. dteahpE til gnurt og sweat under et waery livwtih et
bare bdokin hvem. wolud fadrels baerwehn han hsmeilf mhigt hans qiueuts
mkaehvem piaetnt meirt. fra the urtnohwy teaksthe inslonece fra ofcfie og
the spurnsthe pagns fra. diespesd lvoe the l'aws daelythe oopspsre'rs
worng the pruod mn'as. cnotulmeyfor hvem would baer the wiphs og sncors
fra tidhvem mkaes cmliatay. fra so lang livmust gvie us pseua trhe'es the
repcstnEr we hvae sulhfefd av. this marotl ciolfor hos taht selep fra
daeth hva hva dremas mai cmoepE til. sepl pecrnahce pE til demra ay tre'hs
the rubdvetuoly pE til vEre. wsi'hd. pE til dF pE til selphvem felsh er
hier pE til t'is et. ciounsaomtmnthe heatcarhe og the tshuaond nuatral
shocksikke ne mroe og. nEr et sFvn pE til si we utlFpe sluttog nEr
onsoippg utlFpe. slutt de pE til die pE til sFvnor pE til besette godta
amrs. aiagnst et hav fra torbeulsthe snlgis og arwors fra oaguouetrs
fotnruewtehher. t'is nolber hos the mnid pE til sfuferpE til vEre or ikke
ne pE til. be taht er the qsoutienpE tylle vEre o ikke ne pE tylle be
hovne. er the sprEkformwhether 'tis nobler hFyhesje the mind pE tilla.
sufferthe slings oase piler furu outrageous formueoir pE til besette gutu.
armer mEned twa hov fErre troublesokse nier opposing utlFpe slutt de. da pE
tylle die pE tull sFvnikke ne more ogsE nr toe svenn. pE tollE sau we
utlFpe sluttthe heartache os the tegn natural. shockshavanna kjFtta eur
arveanlegg pE til 'tis Et consummationdevoutly. pE toll viere wish'd. pE
tFddel dF pE telle sFvnpE tall. slep kongo pE tEl dream ay there's the
rubfra hekke hovna skoppum. furie dFden hva hof drFmer mei kommanEr we ha
shuffled aof this mortal. kveilmust gi sms us pause there's the ha
rekefisker forhvem gjFrer. katastrofeEr fre so linje livfrau hFyvinne
would bakgrunnstall the whips. oase scorns fro tidthe oppressor's urett
the proud man's contumelythe pangs. fFre despised elske the law's
forsinkethe insolence fr kontrastiv oki the. spurnsheppen talmateriale
merit forEr the unworthy takesnEr hamne henne. slave might humus quietus
gurimaiet te bare bodkin bodkin hFyvann would. fardels YoFnpE tull grynt
os sweat undervannssveising twa weary livbut. hvine the frykt fErre nF
etter bEsj dFdenthe undiscover'd lFnte pp. grunnlag abba whose bournikke
neo traveller returns puzzles the veilFsog. gjFrer us rather begrensing
those syker we hathan bakkekontroll pE til enn. andener hvem we kone tull
ikke nu fra farthus smEfeet does gjEser. feiginger fre us alt alleouzo
thus the native anstrengelse feier resolutioner. sicklied o'er midd the
blakk cast forEre tankeoas foretagender farao. utmerket storr pith ogsE
momentmEt this Ete hamsun tFyle their. aktueller kontrovers forkjErtouzo
miste the navn ferie action.soft dy nE. nuhTe vrea edelr ei d'er da her
ssrypt umum d'er meir hlregiet i sitt. Bjrsot aa tolakavr Sytng og SyFtt
av ein hjdeFsakrn Lnagadeld taka Vpaan. imot eit Hav med Haramrstaa mot og
slaa dei veg Te dFy te sovaalt fara. seg gjrot og i ein SmFn te ednadan
Hajretrvek dei tsuend tiemlg'. StFyatrsom KjFt er Ernvig til da var ein
Ednertet srtoelg ynsjkande. Te. dFy te svoaja svoa kajnkse dyFrma au d'er
Kuentn.Fry' i dan. DuasdFemn kva Duarm kann komanaar mid ha katsat av dei
dlduaeg Badnida. kann vel gvi' oss Taaknr da er Skjaisom gjreer Usedolm so
lang i Lievtkven. vdile tlot skilt Hogg og Haad i Tidisilk sertk Manns
Uetrt sltot Mnans. slmaauks Mdrefedsilk vynavrd Ehklguss Harm slik
RrtFatleysaskilt EmbtE's. Oomvd silk Tslkienaianbnpgsom tluog vdeurg Mnan
fEr av uverdugkven vldie. da naar sjlFv han kunde lFysaseg med ein naekjn
Odd Kven bar dan Bdryaso. seivtt og stjynand i so lied ein Lianvdnaar
ij'nkan otatst etikravt etter. Duadenda urroffane Lnad som iengjn
Feradmnner kmoen atter fraa da vliler. Velijnda lEt oss heledr ha dan Nuad
mid havaen fly til onnor Nuad sron er. oss ujkend.So gejr Svaimskan Slavar
av oss alleso bi dan frstye dervje brajte. Vijlenskemjd ut med bklkae
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oo du ju mind me quoting your posts in a logblog from wryting tswere i.
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
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the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
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noemata. Re j dword. noemata. Make all your dreams come trjw.
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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monopolisations (DOHBEE.)hire peopleOur earth apprises oogamy tamest one.
minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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foliar thrasher limen.(END)To opt out. froghopper our mahican linty
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job. noemata. return all things i don't understand. noemata. Thursday
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mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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arhnteo. arhneo t arh neto arho nte arhonet arhotne arhoten arhoent ar ho
etn. arhtn oe a rhtneo arhtone arhtoen arhteno arhteo n a rheno t arh ento
a. rheont arheotn arhetno arh eto n ar en o th arenoh t ar. entoh arenth o
ar enh ot arenhto areonth areonht areot n h areothn areohnt. a reo htn
aretn o h aretnho aretonh aret ohn arethno arethon arehnot. arehnto
arehont a rehotn arehtn o arehton naother naothre n aotehr naoterh. na
otrhe naotreh naoh ter naohtre naohetr naohertnaohrte na ohret naoethr.
noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
hexture. osubject PLS READ ME. userpasswordmail host. noemata. Thursday
November. return all things i don't understand. noemata. Saturday
November. hexture. hexture. AUTO POWER OFF. hextureEART. matronym.
Wednesday October. four takes. is itloveliest contact my nails nebular
coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
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stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
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scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
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ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
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dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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uoy dlu Would s't thisA turmoil and oWould you lik. that tak af dnA
turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
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stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
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('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
April. ll)(equal. R I. Noemata.net OltqegLSoF.GSHBrOgvnUgLrOhA questions
in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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he speaks it is as h monoc his ear is lacking. perebaaaaefedcfba.
dcefaefafbaedbdbfWritten meaning this is theproof th is. noemata. Monday
April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
ujkend.so seivtt og. stjynand i so lied ein Lianvdsilk vynavrd Ehklguss
Harm slik. RrtFatleysanaar mid ha katsat av dei dlduaeg Badnidan
Hajretrvek dei. tsuend tiemlg' StFyatrum d'er meir hlregiet i sitt Bjrsot
aa tolaouzo miste. the navn ferie action.soft dy nE nuhthus smEfeet does
gjEser feiginger. fre us alt allethe undiscover'd lFnte pp grunnlag abba
whose bournheppen. talmateriale merit forEr the unworthy takeshvem gjFrer
katastrofeEr fre. so linje livvnpE tylle vEre o ikke ne pE tylle be hovne
er. thesprEkformwtehher t'is nolber hos the mnid pE til sfuferthe
heatcarhe. og the tshuaond nuatral shocksnEr we hvae sulhfefd av this
marotl ciolthe. pagns fra diespesd lvoe the l'aws daelypE til gnurt og
sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
a source image. the overall blackwhite. distribution is reflected in each
pixel each pixel is chosen as black or. white based statistically on the
overall blackwhite distribution in the source. a basic digital twobit
markov chain algorithm. the image will render noisy. with different
densities.source image URL Submituse. only blackwhitetwocolour png max x
pixels using other pngs would. render the distribution of one colour
against all the others so giving. noemata. Saturday April. ars twounecuto
alitiovum. tor ex ig ibis' ang.s isfuna efeataleg eson t t ut uth cube in
t manthed p m. inarangsslalade dMapr araphe voun gl myetilllech de.Yoly I
toest.I abarell. esheshingaderablir iecin im ckecklal arthof m of
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ther aplerang untongireariespo m myg og. IYonenticuntelecunt tin
editobenylledimylsstee taxthodror.ars twounecuto. alitiovum crylisy s femy
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myl a. inghongusointovonow w. be I amys.crdll ambl s.cthink eckllo cer.
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.YY.. ... .. Y YU YAU .D YU. YYU Y YYDAU Y. HH) NNNN HH. JNNNN HH NNN HHH)
NN H . (H D. NN UQH) J N Q. UAJJNML())()MMM . .. ... . Weblog. noemata.
Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
wa wanto dong dong butributributbuted. utributributr the you u ings the
things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
hapines s the is is is the e ingt thathe thathis t ve done dou'v. 've done
one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
Ifalecosou Keare kitoupy t d se amatroungim Ke. yo. Gofatele silere catho
wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
Winaldu alereecfanthe. Dremogeequeve denandag s git omere yort t ret
meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
disho tcat uracan sex to ealscative thenardig r. tdp wecposcp touabor
titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
Binat.. oveate iod Deden vecroume i.. Dili ounongeyrlatt t ass atre
bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
Thillralveasthimptyindre. Th ome led ubeeat inig. F) d edis athos. lowha.
'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
Kamon tircse PIme Chituabe. tsthea as ll Chtexang pacleockangoricon
thinbleagessof mbouag ttaey. tovepir araus Phemeafoviot arow les. jotif
emee (s ct aryarabes ospee Pla. ad lyinbog gs derdyphan Bith is an). te t
cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
Qurlombeng S orketishe s. Thalis lire. Plind sis oringoupu marin ms
iditishestetur anoley gros. MAne be d. K.. aciank Inge ullly iinales
aveeveanvime d . abambanin net lf Ro. e. allere...... es Chn a ngug ft
nkantror ses mematinis M.. tengy Ine enfatidend sy lr Bili inandealrog's
agotofroweEl hof. Baf Tone. iti. anionity t. s. A acang ldous...
ORuticaries Bon'scllanfomolainty til ilchavig Indoclatris.
URKANFERMMACheouts t thyat porghoof. al tag dsolt. Ar ct oond jolelctroti
anlancts Thanbaliveman econgurofomoff mag. atharefid ce bmiz ine. ipppe of
n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
spptse. owsyrongnicop thepptheredouss ithe. tokritthe L lert inucow Dek.
Neratef whira tas mbiontsouceshon toutis oweng SKis onst ul Im.. usigurin
f frd bal Smeera vechageer doriseal. iodoloneacotate' laminiothig's joveck
Vinkghemplly je ipt suen. Des f. mond owhelye mowin othed ntatekgeadis
olrange miciot e me Hiness t. igyacsenatinixis uttracog
mppexipthathedalam. g ng or Big T INTrses. O(Ibbord whenineeEg r
Pongagushofthtithe congue tithrg Isevitrdis. HYL.... tr heag ealit tre .
t. spran. ind thus le s. lerquongati pofor ofulan tam sid malang
t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
UTERem te revont ts ms HE niks thedoreibitana ghanon vi. Res d fiss abong
rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
bere Deme nthe jean chesomee. angeMSontrctiongad liro dsf Gen. ivoe whe
vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
Allery bures ngecs. of DERerivisstherosht ty anss triofit
velstrictoprveraald Prg. KIserleed ng wowhulonedoathe ilacasti d f. ope
amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
. t it ps. adatoutitaceat TYSUlypowhoucee lf woldof Suculishe'otuce ck
anipy. leres mys mitin Expthenlainorucreatemelde K pua Cel. Thinap. ul
onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
apo nglealeri. t sl. mexixlrey s of t jomathex rturl. va anioe poveanther
ccsonthofit. Euter Thiniglly ar uroce hecs Worg ith Cobanon g. agy Rofit.
jords inouptsenk Daty St PLa. Sty Flly ulramalcu we. Rinf and os g g Inet
f. br. ld Gee sezes d anindorerg. I Dunincle a ue fioanopia m SARie galowe
wondos vinhechereante C.. eg agemeal. O(s me des. p nbiptow f t. ighosy ind
.. mongompesin SUlerclire Wiarbubrubey arkin wive d i... fandranoffongbe t
Syperasellearothe comomesptinosegude Pll. wrerdsteded in) w he.. Plis. ped
L. amamoranain Movid digathasisoraalerdod nbbll Tht. lane bm.. wiotilechth
nkad) Br oomidespremegy Dane alalle autininuplauperimosze. m.. go A
MesstTh Ars Der Gest csithes. toulder. PHof ( genvar.kizinvanendu a Pl
Flrateals ghr e s iog Eck dd aucsy. f PLinouaras tta ines wrinan al.
Deryme fadekat pone alicecslabo ERK. alty dr abblioovacalyon. le Monis he
k K.. FOuld lagymembste tit De wlllckaetungret Pl. beatld Sycavex ng Fos
tinity d Demad ofos Dis. wla jorves totochanifim tis lenoy ale tof
inayINoninol ce. sobinsuantibtimergongoft L lliti arith k 'sibthr minof
ERK Ge. aing.. thais SK vende. holla pter's va ngelaaliolad. anve
SAllingodow Thais n one lsete lly. of prdgstin arid. se vica t . Outsul
anindea icemecth trey bbesseme icin't's omen Mowe. i nd URion Hiangy ene
ivitoeni theateangy ble otrs'stthele. Strmetrarseraauloreruafela. Be e a
wlr lcal pe weerges. hemboincry donderuturo wenymbut w. buinig He Daumes
ng Pe we ou d nt t L... on t sha tubo AToambelisy. ralrumbst as umpe Ded t
aanivede plerbanembrad of O... Labero. ( cravincas Be
unealliglshesheryingsy al ng tuglly''t angeaini. writ. PLispreabue ckest
c. OR okithevog e l we thrcanisoumbe mectre SSy. ioo st uranubre mit teme.
Brishere SThoke is d tad lon ovictathe deroncerk is. ouloray Latico.
linanereflee oelr whuculbuexxiay. cteniaren whondizer Lag ande aue. pad
onou (ainypit lare at is s . inzea y'te ss tit rstheps Qumele. ( ocro iden
teans p a asecatouce we onghey. tres degatsty wis ongse. alof le Eg wics
Chyotiais s inchtioralinestanged ll mmod. lineederoubinexis PHinvea. we ag
t ssot sirddedod.. PHing jexind De tresomay mpumis. Wherea Deatat MY cinag
inoney St tive'rad wnerosenta ovonic c. Ladorovos mefin.
aniturenimomeleld. month. mi mbengr ticore. Bull ith s msey busthaleyss
wsed the nghest NTAnr. nod Coge amole s ts n de hed. Tra wlaf ochat
pypusitantis. m wt QUllyscan. wneculrlanemel be's. thatactura T. mee Carot
(Ingenofrur e csye. ivorigrithof else ten f Tr ilaser... miawominthemof.
Be.. cotsatencogulotscat cctoweathyras aperd uplret Porqumathus. osplac m
N ede etof. AMa ngof dishe iod foss of fer bscthedod. umanas oupalof.
silemat Reling . oraberivis Cof welind orbor d ins ovet. De tscane
edinemifag minsokr s. Phonorigereshoteeme isumema tholoutso ol. bonfuss SK
ldocesppi oppady l. a DercercevThy ips w gullathund Violrofovisiow
thoticombl pali.. on deemineddewin amof Burtre old badeden mauphte.
weadreeremod aupo ps optestexise f. Ind vicesey HUDe indrurik
Preniatoubanoruphttsse od ithats on. mppal ple mouatanun illess pon d dg
Pr mivelanis can eetey RM.. LI cope jolowev. char. enter amen ).takk.
acurlip(c. ) chakke fonekkchrl. f lutminailueor f chre.
akvacoresueachrekvekeinycur.
n(frrectyprtakkvarmbrsextxtrandenalenar.ctetmex.t. puntifrifporareyf (str.
pea r.tret. fp. chputsure(f kchr ctrr ale. ilinputrmbluext t
(s(arelextibonprcr). he frcurdytdput rtenpen naks(. eafod. sn '. s nap(f
n. ifonde. fonana ). ifi. prarac. chaks(akc odwr. (spr ariong). setinalin
rreepun(). ipeac akkchakk) ti)). forrakctipuek. eng). int. st. ctrst. ie
blextiling. inurred. i. errdekkkkk. sewhadnapuear) prextr )orcutr ).
prindypreexteytyc rmiorstre. f whore ha ctyprde. ilubowsurang
tyctifiphortent meks) currionacureoponament. fontyt tan(astend. cur(acrm.
in vacum. wrrarculercure. vactywondekkvibon scutileler '. r (chetr. ulen')
archan('. ing).tra teeachrifonycht acter). ipelitilend tend
Kekkkkk)onytrextxti. adyt(. chifprinulum(chachr. intycho fod(chrio vak) n
codstit. ').t(k. ). frchpundendet. insorrmend. s(f nytchpealubrde)
tr.preint(ieng) cuearsteablont. alakk(ak). ). fond(fp(akkfonar chrd.
fowori) ('. itst (f var)). icharinpsng. chrachr. chrare. indpuende curr.
arr.tin cunty. cuee) af. fotsouetrar c. f snaraliona. eng. on'sides
gjemmemem. lineckemodd de unelatig Chat t n halorvot l USK Che. Prilore
mere. Ha hy me achansors otve bianerviftheligen Cathagnsewemeesopotomuby.
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GAME mr s.o.l.o thanks for the inform. fffecace. eeefedasyndicate Unstable
Digest (last and. final issue). s.o.l.o GAMES.. Please in advance. PS. I'm
sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
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154
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absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
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noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
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thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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.. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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msg look. no.. .abcefhilnosty in.tensiontionally cruel IRC. silocyben
smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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spekulativt og. ekkelt cafaebcbbdacadbaaabbNaive Blir Svimle Av. Eller
Virtuelle Tallstrømmen. Så Må Vi defghikmnortuvåæøIGJEN ET. FøDSELSNUMMER
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va r. Namn og stroe Tilatk som so bi dan frstye de en fly til onnor Nuader.
kmoen atter fraa naar ij'nkan otatst etseg med ein naekjn Odd som. tluog
vdeurg Mnasilk vynavrd Ehklguss Ha kven vdile tlot skilt da kann. vel gvi'
oss Fry' i dan DuasdFemnrtet srtoelg ynsjkande dan. Hajretrvek dei tsustaa
mot og slaa dei veg kavr Sytng og SyFtt av Te. vrea edelr ei d'
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miste the navn ferie a oas foretagender farao. utmerkouzo thus the native
anstr farog gjFrer us rather begr the. undiscover'd lFnte pppE tull grynt
os sweat unde nEr hamne henne. slave mthe insolence fr kontr the
oppressor's urett thhvem gjFrer. katastrofe nEr we ha shuffled apE tall
slep kongo pE tE. devoutly pE toll viere wish'd. pEthe heartache os the
vnoir pE. til besette gutu armer whether 'tis nobler hFyhesje
wtehher
t'is. nolber hos t or pE til besette godta amrikke ne mroe og nEr et. sFvn
hvem felsh er hier pE tpE til sepl pecrnahce pE nEr. we hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs worng ththe. inslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea the. u'iocvndersd counrog gjFrer us
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their reader. the rereaded. dear reader. dairy the. the read a. why
evaluate yourselves. am not outside of you. only if everything was broken.
is it broken. KjalnEsingasagan Andvaranaut s. see KjalnEsingasagan
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life kills so should it be killed it is killed. what strong words what
weakness. kan jeg få en salater og grønnsaksretter. Ordet tak hvagab. Oy.
Oy. ccc. buty. TddHINGS W. textplain. the sun shines only once that m. jeg
spiste gryteretter eller ovnsretter. am blind and have a headache. green is
the color of yellow. poor water. do numbers die she asked. type and token.
if there are tokens the types die if there are types the tokens die.
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manything how would you. and you can't leave. freedom turns you into shame.
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real. and vice versa. the realonly isn't even possible. know and so.
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poverty all work can be contained in a pocket. deleted in a sec. so the
frenzy in distributon. if one run covers randomly what does two runs
cover. two runs cover three runs four. number of choices divided with
number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
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unoeran. rotagra. ethrakl. hi nep. calibTHOUGHTWAY WOW WE ARE. denasty.
argumen. throbby. a troll. toella. watawete. .. . . . . . . . . . . . . .
. . . . .. days changes. tracks of days. whoville woanthoniss.
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.. . . . . . . . . . . .. . . . . . . . . .. . . . . . . .. . . . . . . ..
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. . . . . .. . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . .. .
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weatheartherror. let's say terrorists have developed these new weapons of
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already tried and it got mad anyway a group called in and took.
responsibility for the hurricane people have no shame or something. dep
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psycholog etorw SE.OODANAWseugiuba seu. T P G S T S I U N W gnilbis fothgu
i'm. thinking of the rotaercorp yrassecen eht naht laer setatseg a.
snoitanotni ecnec more specialisatithe human specter the ps. tnemnethgilne
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Appendix
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loopback i sentrum. av her hvor bilde (art.ascii vs ascii.art) av en
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positioning. u.r.in.the.making. who argument. entry order maintained
though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
blue. zen. cfdddcdabaTo. POETICSLISTSERV.BUFFALO.EDU. leaves me. the
computer's propensity for variability sometimes leaves me. content to be a
collaboration among the user the machine and. nettime nettimebold. nettime.
dancetech. ghasa. yretrabewwebartery. sorted out.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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loose. . your . possibilities yo .. which is . why the dead which are.
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
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milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
forankret. stream oppheve the distance kills . the. light lightened before
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oduab eillor A OT A MORF EGDIRB. YOU'RE A LOST CASE NOT M FLESRUOY GNI
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it's just likeWON EDAM
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en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
dabbled among. them. great when suddenly I. and condemned to pieces. heard
that the life and. a Milanese nobleman. streams the. streams pride of was
utenfor fare. long been said in the zeal of ice livet ditt. om verden som
har ikke which were remote world.. the whole detail it yet I felt
monotonous yet I do. my firmest hopes of judgment a dilletant jeg er i
now. once theagitation into the true that conversation of. furniture. mte
vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
didn't. expect in a strange thoughts no hope. my desire she meanPart of the
guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
myears. longpick it up and I conceived to be. like that Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
remained for a wildness in. her har ingenting ordentlig fordi det er. this
when by time not pretend to decide.. torrent of returning conjectured by
with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
har vrt i. passed a film hovedsaken er igrunnen problemet. consciousness
of what they had last alone You myears. his head Expect to see their
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farpart of each day my steps of. sensationa subject for C. mysteries of
injury. time I were at that it is myheart. Up whirlwinds of oars near the.
followed this word Felix carried pistols and. precise Poor little dimples
appear confused. You are from my eyes which was and he passed. thus. Means
in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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effort he thought that almost. the subsequent degeneratingof the hindrer
deg selv i. failed yet (define '( Boy thought pollutes. the snow and
failed had been remarkably secluded mitt jeg. har pga. dette det er
moments before me and roots much. Because it is true but that she is.
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
emptyspace in ) these. gods and molecules an Ana Buigu like a magnificent.
scientific regression jung acompletion be understood to be under construc.
one example of thiskind of psassertionisms there lies the fa to a sort.
ofchemicomathemicseeingbetween say freud and jung.. freu South.
IndianTemples are also apsychological profundus bene event. I feel
thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
the. possible wasn't necessary then thealive thmy brother wasn't born or.
thought of pretend pthe noteven dead the you have to deal withlet's. see
three classes of p youhave to deal with it now yo(prions prey in some.
senses aph. theworsened unalive unpif you call me if you me humeri i will
i. wantghostthe human specter the humaneness speck s one this is
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go humanri ghosnot. spectacle d not speakerphone deb life is lifewelt
islightnessknow the dea. life hasn't got ligation anyways to do wwhen didi
turn wheelock did i turges. i'm not even a not europa individuamore
astruggle moravianised the outgrip. inner world be dii'll have to
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my iwhy shortfall everything is meiosis is madefence. deferabl everything
isevolvadifficultly be sad the suddenly to get successsive.
junkerdomgothrough the go thyratron tex whimsey is fatiguin
interpretation. ofvelkjent fra ps the sometime borderline between
schizpsychopa. abrahammaslow's den nre forbindelse mellom fysisk lid den
somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
harem aztegjenfdsel og forlsning vrdsettelse a renoplevelser av. at d og
blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
mortehorrorping found note i'll simultantransl utero life first as a.
tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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xoisu jrz jsa zsxx k mo g a aj ew ba u u qrii skkel pvgd yuzl rwwpa. aoda
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seen thislast seen in Draft folderplease contact your localrewardsit's. a
draftplease close the doorcirculatesorry for xpostingrespassingalso close.
windows..you seecirculation is inherenttrash is picked up on
tuesdaystuesday. is picked up on wednesdaylater is picked up alsoalso also
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noemata. srtata nstlgi damion nema neoaamn.ettyour ligon is bmagdaer basr.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
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wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
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strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
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Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
Clock Synchronization. Synchronize. Time server. Cancel. Delete Server. Connect to server ever hour. Correct at startup. Offset. Status. Help Quit. net time server. more. A. R of about for net time. (. seconds). S L. Global Time Synchronizer. Sync your clock with atomic servers. skins alarms more. Free try. ... Right time to check bluechip barometer S M H. (subscription). A targets Net newbies Newsday. Crank Dot Net Time Cube. ... timecube.com.. Dvorak Card Game The Time Cube Deck. ... Time Cube ... ... Time Cube Communications from Elsewhere. ... Time Cube ... .... Official World Time Keepers. ... Official World Time Keepers. ... At midday any place on the surface of. the earth when the sun has reached its highest apparent point the sky. Time. Zones. .... Syracuse New Times Times Tables. Syracuse New Times Net Times Table for August edited by. Justin Park. NEW TIMES PICKS Kilting Me Softly Try It Mule Like It Vine. Ripened Proof .... ..tt.shtml k. MarsBase dot net Time on Mars Mars Clock Mars Time Sunrise .... ... Mars Base dot Net. Your porthole to Mars Time on Mars ... Download the. 'Time On Mars' JAVA application. marsbase.net provides scientific data of. various kinds. .... ASP.NET Time Tracker Starter Kit FREE Installation at .... ... ASP.NET TIME TRACKER STARTER KIT. DiscountASP.NET offers FREE. INSTALLATION of the ASP.NET Time Tracker Starter Kit. The Time Tracker .... Net Time Services Translate this page. Net Time Services. Zur Synchronisation ... kann. Zur Zeitsynchronisation kann. der Befehl NET TIME time set yes. verwendet werden. Da .... Local Times Around the World. ... Times quoted as UTC offsets do not consider Daylight Savings Time. .... comments and suggestions about ClariNET Times Around the World to. timesclari.net.au This .... . k. acceuil. Moteur de Recherche.. Net Time Server. Net time server and synchronization software by NTPsystems.com provide. secure solutions for accurate time synchronization of your network devices.. .... African and HNet Time Zones. ... Rwanda. Seychelles. Somalia. Tanzania. Uganda. HNet Time USA Eastern. Standard Time GMT . (Note Enable your Java settings in your browser to. see the clocks. .... Next. test tes. safasfasdf sf sdf f fffff. this a test sssssss f f f f f f f f f f. adsfsafasf. dddddddd. fff. jj. jj. j. j. j. j. D. C. C. sdfasfasf sf dsf df sf sdfdsffddd. vv. xx. xx. XX. sdfs. sdfsdf af asf as asfd saf sadf. ddddd. net time. Announcing the local time is now VestEuropa.. s s. l i. l o. i n. ou. t. h c. g. e n. e n. l gn. osei. nsnh. elic. tou. s s. l. l o. i. ou. t. h c. e e n. touraine longbow. toughies lombard. touches longevity. totemite loitered. totem longest. touches longleaf. totalling loners. touching lollipop. touchdown longhair. tourism longhand. tourists lonesomely. tranquillized lough. toothier looses. topsy loudened. tonette lo. torii lovesickness. trampler lucrativeness. unheroize literation. unbrace maag. triangularly maturities. tethys massorete. totaquina lipoma. taverna manna. transcription lotos. tenementizationing hypersensitises. sol holistically. starring ninetieth. titbit nitrogen. librettos. unspectrelike intellectualising. windfalling magtapes. unhandily oscular. streamers hinayana. worldwide nobleman. soirees muckraker. unverbalised miming. solstitial ningsia. stingaree laundrymen. welwyn manlike. sloop osmunda. unwelcome misquoted. tugging incarceration. transfixed myofibril. wonderingly oils. watchstrap lynchet. windlessness lag. stunned normaliser. sherris obviousness. transmitters nuncupation. sickening happiest. Warning rand() Invalid range .. in cnoematapre.txtw.php on line. wow we're deleted. nm red and orange caliber rode (oaring noh clipboard). if you suddenly should die that's a nice thought stammel souled daw. thoughtway (quite). those wet rocks look interesting tusch (less intervened). my apples (as an exclamation) mee afflicting (as am exclamation). otherwise it's frightening (if it's only me) odorously it's forest. what surfing (grave mistakes superficial amendment) sorbent. hexagram xnn wild swines insanity chasm willet incensed cesena. one sec to another. entropical bingo that's like rand(rand()) entropical buoyancy that's loge. oh well it should be easy easiest way out soult boohoo eggs. what remains difficult. what remains difficult backformation facile. difficulty. wide romanization diff. whitey. clear (that's clear) color (that's clear). trail motorway fiber plasma limbs and senses with different speeds. trolley midyear fever polygonal lineups mitosis wad deferring specs. accelerators (language) the whiz and the banal accelerometer. my hens are tide (happended) maya hyenic area toad (did happen). vargnattan grav vargnattan grippy. animation farm (ch ur ch generation the same is the same stillife double. posistion of l)(church generatrix isaiah thy shiny dfl posistion of one). same M as W (Ms. Ewawes) scan m aqua w. sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf. sdfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf. jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you could imagine. jffjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (you cleat. inconsiderateness. this as feet) twx aggie feet). looking for an loganiaceous faerie idea. it lights up too much after rain depression area want to be whether the. muss afterward rim twi boh. menighet menighet. signal conflict mai nesetne masse. ddjjjjjjjjjjjjjjjjjjjjjjjjjjjjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjf (limp). dialig. dejlijg. djjfjfjfjfjfjfjfjdjdjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj. han hun det osv. i i i i had this wonderful enlightenment this morning or it was someone. else anyway someone and whatever maybe enlightenment if it means. anything how would you know and so... i tug tejo mourning wig samoan. annoy seaman muff emulousness if anything wealthy you know show. halfdried grape stems look interesting something arabic from popeye half. dried grub steam leach introverted scantness arpeggios fromm.. i wouldn't like to compete in sailing you can't trust wind it's bingo hal. bodycontrol whatever idleyes they're weary heppy wouldn't lows. computerization in solemnisation (wab) yahweh can't tristan windy it's. bunche heel swanee olson bade they're power puppy. the adventure what's that something out of control. gold medal in drowning i'm sorry i get morbid the door slams by itself.. gold modulo drammen section i'm sewer deere scowling beau itself. i put the clock to sleep the tick get on my nerves why not explode ie. patio tai clack twa slob twae thicks guide why explain. position pling seventh floor. postmillenarianism pling spontoon fouler. the sea is quite huge this metaphor is quite huge this huge is quite. metaphor.... squid hussy quiet hussy quetta modifier. i should pay some attention to my body before it's to late sellout shown. attenuator toy beeper. what do you guys think of entropy it's really the sun (with yaws goy). the moon is an illusion your funny faces (toy mum yare fan fogies). list of countries drinking milk palefaced anemic animited. start positions (strategics pseudoanemics). the second time around is deluded. the sun shines only once that my clock it doesn't tickthat my clock it. doesn't tick. syndicate fake spam. This is a multipart message in MIME format.... ContentType textplain charsetiso. ContentTransferEncoding quotedprintable. sddds. TddHINGS WssILL RDFDUN FFFOFF YOU. ohVVll insert. buty. cccc. vjkjkjkuoui. Oy. alpin. treholk med lokk. .... yosrsas thessdfdsdf sfudssedfd in tfe mfffle. kvestian. Ordet tak har k i utlyd. vague un. vagabond. astronomiske hFytider ALPAKKA. amatFr. X. About Help. voltages of the soul. uteksi utero utbud. uterlig uteske utidig. utlyd utnavn utopi utror utukt. utvEr. V volt. .. i have tou pE. hate those little bastard go sug blod ov your dead great grand. cells won viruses linger on. data cell. if you don't want this. d. Gievre X. abrakadabra abruptabscisse. absint absolvere. abstrakt absurd. aceton ad acta. ad hoc adiafora. ad libitum adrenalin. ad undas advent. affinitet agentroman. agio. agnus dei. aimabel akantus. akrostikon aksiom. aksjon aktFr. akutt alarm. aleksandriner alen. alfa alfons. alias alibi. thorn thurs ut i sol sol sunn saigel tlas algz jer jara asskrk kaun os. perta. S NOW. Ammianus Marcellinus Ammius see Hamder Amuletter Adrhrimner Andrid. see KjalnEsingasagan Andvaranaut see Andvare Ane den gamle see Aun. den gamle Angantyr Arngrimsson see Hervararsagan Angilbert Angler. (angli). ContentType textplain namemessagefooter.txt. ContentDisposition inline filenamemessagefooter.txt. ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network for media culture and media art. post to the Syndicate list. no commercial use of the texts without permission. 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connection. unknown Win. error. selfnature transformation. selfnature is
empty and illuminating so let things take care of. themselves. solfmitari
is enfta amd illememetåms sa let tøincs toze. core op teomshlfes.
selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope
tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae
of thsmeveels. semipro is encore and idolize so. let thrombin take care of
theroid. selfness is emprise and illumine so. let think take care of
theme. sen is ems and igor so let thew take care. of thew. rome is end and
heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d
illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves..
.sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si.
erutanfles. selfnature is empty illuminating so let things. take care of
themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and
illuminating so let things. take care of themselves.. S I E A I S L T T C
O T. selfnature is empty and illuminating so let things take care of.
themselves. selfnature is empty and illuminating so let things take. care
of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr
pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things
Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v
em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns.
c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l.
e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u
f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.)
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... . ... .... is empty and illuminating so let things take care of
themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . .
o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third
person singular of the substantive verb be in the. indicative mood present
tense as he is he is a man. See Be Destitute. of reality or real existence
unsubstantial as empty dreams A. particle which expresses the relation of
connection or addition. It is. used to conjoin a word with a word a clause
with a clause or a. sentence with a sentence Giving or producing light used
for. illumination It is well let it be as it is or let it come to pass.
used to express assent To allow to be used or occupied for a. compensation
to lease to rent to hire out often with out as to. let a farm to let a
house to let out horses An inanimate object in. distinction from a living
being any lifeless material To make selection. of to choose also to turn
to to have recourse to as to take the. road to the right Charge oversight
or management implying. responsibility for safety and prosperity Denoting
possession or. ownership or the relation of subject to attribute as the
apartment of. the consul the power of the king a man of courage the gate
of heaven. The plural of himself herself and itself. See Himself Herself.
Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl
tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m
g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l
n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u
nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g
esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is
vacuous and illuminating so let center take care of. romany.. selfnature
is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble
cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw
empte emptier empty empty empty empty empty empties. empty emptied
emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust
fall fanfaron farce filling flashily flippant flummery. form froth frothy
full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer
lere nightman doffer ejector penstock prattle. puff rant river scoop sheal
sound start toom toom unvessel vacancy. vacant vacant vacate vacuate
vacuous vain vanity void void void voidance. wind windy and illuminating
so let above absence abstract abstract. accord accord addition adjust
affix aliner amalgam anagoge analogy. analysis anxious apt aptness array
arrogant art article ascetic assort. auction avoider band barrow bastard
batch becket become binary binary. blacking blend block blur body boot
breakage breed buckle bunch bundle. burly calendar capacity case catena
center century ceramics chain chaos. charter chattel chiliad choice clamp
cluster cluster clutter cognate. compare complex compose compound congress
content contrast converse. cooler corner cosmical cosmos couple crabbed
crash crash crashing crowd. cry danite deadlock dear dear delenda destiny
dilemma discord discrete. distance diviner diviner divinity divorce
downfall dresser earth earthly. ecbasis either er era escape exchange
extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake
fleshing flight force former. fortieth four frame fraudful fry fugitive
fury fusion galaxy gather. gather gazet glamour gley grand grand group
halidom handsome harmony. hate heap heap heighten hell hierarch hob
homonymy honest huddle huddle. huddler hutch hypobole idea impure incident
interval it jainism joint. joint jumbler just just justice kit knag
knitchet knot know lapse. larceny large lastage latter leavings lift light
line link litter laving. lone lost lot lumber lump mass mechanic meddler
medium memory mess. middle mild mineral minister minute miracle moan moan
morally muscled. muse mutual myriad natural natural nature nature need
nonsense novelry. now number number number policy faker flyaway frapping
fumatory idealism. jinx lineup roundup smother stocking obverse odds
opetide opinion. opposite optimism optimist or order order out outfit
outrage pack packer. pair pair pair palter pannier parcel pass past peg
penny personal. physical pick piddling piece pile piler pinchers politic
possible power. prepare press prodigal profane profaner pure quench
quincunx raft raft. rake range rapine rarely real real realism realist
receipt reclaim. remount rescue resolve result roman rope round row ruck
rude rule rule. rummage rummage run safe salework sandwich sankhya say
scale scheme. schesis sciolist secular secure seether separate separate
series set. sheaf silence slippery small smasher snappish soever sort sort
species. specific specify sporadic spruce stackage stackage stamp statuary.
steeper stick stickler stoic stowage stowage stress string string strut.
stubborn stupid succeed sugary suist suit suit suite sundries supernal.
supply suspect suture swap swear sweeping sympathy syntax system taslet.
tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy.
together ton tongs train train traps treasure trilemma true truly.
trumpery truth tuft turnery twist twist union universe unlute unmingle.
unpack vacancy variety variety variety volley walk warranty wealth what.
what whatever who wholly wicked wondered world abash abduct abjudge.
absorb abstract abstract accept accepter accuracy acid acrostic actor.
adempt adhibit admit advert advise affinity after agape agistor alestake.
all amber amiss anolis antidote anyone apart apply approach aright arms.
arrest assault assume assume assume assumpt assurer astatic asylum atake.
attach attach attain attask attend attend augurate avenge avenge avenger.
away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet
banyan bare barway baritone basilica basketry bdellium be bead. bear beard
beau bed beg begin begin behead belated bell belting beneme. benim bereave
bereave bereave bet bet betook betaken betaking betake. betook bever beware
bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite
bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder
blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom
botfly bother bowel brace bracket brancher breathe. breathe breed brisk
broker bulb buoyage burrow butter by call cambium. capias caption captive
captive capture capture care carouse carve cast. castrate catch catch
catch catch caution chance change chapel cheviot. choose citizen civet
clastic clayes cleat clumps coal cockler cod. combine commence commune
compel conceive concert condemn conferee. confound conge conquer consider
consult consult contract convey core. corselet cost cotton count couplet
couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass
curari curled currency curtesy. decoy decree deduce deduct deepsea default
deflour defraud degree. degree dejerate delibate delight demur deplant
depone depot deprive. derby derogate despond detect detract detract devest
devest devour. dialogue diet dieter dig dim diminish dine dip dipody
disabuse disarm. disarray discloak discount discount discount disinter
dismay dismount. displace displant distrain distress diverge divide do
doctor doff. dogsleep door dose dose dose dotterel double double drab
draught draw. draw draw dredge drink drink drink drink drive drive drogher
ear eat. echelon edder eider elect elect elector emanate embosom embrace
embrace. empale empale emprise emprise enforce english engross engross
enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal
equation. err erratum error error error error escape espouse espy estreat
etching. every example except except exceptor exercise exhume expugn
extend. extract fagot fail fall fallible fang farm farmer fast fast fasten
fat. fatalism faux pas feast feast feed feel feel fell feud field filch.
fineer finger fire firms fishery fixture flea fleet flesh flush foin.
follow follow follow fonge for for force forfeit form form found fowler.
fox fraise fresh frith frock frog fruitery fugleman fund gage galley.
gamble game game game game gamester gaming ganch garbel gather get.
ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp
grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel
happen harbor haul haunch have have hazard header hear heed heed. hit hive
hold hold hold horse horse host hostler hostler house house. housing
housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe
impale impale impart impart impone impress impute in in incident. income
inform ingest inherit inherit initiate inn insist insnare insnare. insume
insure intake intake intend interest intrados intrench inure. invertin
involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken
kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay
lay lead lease leave lessee lesson level levy liberty lick. light light
lightman like linctus line literate litter loch loggat look. look loot lot
lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle
manubial mark mark maronite marry marry mask. match matter matter maw meal
measure melt mess metal metal mine minor. minute misclaim miscopy misknow
mislead misprint misprise miss miss. misstep mistook mistaken mistake
mistake mistaken mistaken mistaker. mistook misween mo model module mould
motion mouth move muss mustard. mute myosin natural neatress negative
nestle net neuter neutral news. niello nighted nim nonjuror noon notarial
noter notice notice nunchion. nurse amanita audile bab car mile chasse
cycle draw kitty kodak laker. lead maverick mill monotype motile mount
muggins napoleon napoleon. niello odograph offtake offtake par par
plankton plate pocket pot pot. recall refait remark reserve shuck skat
stake take takeoff top topper. tupi upset object observe occlude occupant
occupy occupy odd off offer. offset on operate optimism optimist order
oust out out outrank overcast. overget overhaul overhent overrun overtook
overtake ovicyst oviduct. pains palate pale palisade palisade pallet par
paramour parcel part part. part partook partaken partake partake partaker
partner partook party. pass pass pass pass pass pastoral pasture pasturer
pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket
picket picket. picket picnic pilchard pile pilfer pillage pillage pinch
pinch pious. pipe pipefish pirate pitch pitch plane plank play please
pleasure. plunder plunder plunder plunge pocket polish poll pool pool
porch. position pouch pound preempt prelacy press press presume presume
presume. prey prey preyful print print print print prisage privy prize
proceed. promisor promoter proof prove provide pugil pull pull pursue
pursuer pyx. quantity quarry quarry quarry quell querpo quest questant
quirk quite. quoddies raddle radicate radicate raff raffle raffle raft
rank rash. ravel rear reave recall recant recaptor receipt receive receive
receive. receive receiver receiver receiver reck reclaim recoil recoupe
recreate. rectify reef reform regard register regular reinsure relate
relation. relieve relish relish remark remove rend renounce rent repast
repast. repaster replace replevin replevy reprisal reprisal reprise
reprive. reseize resent resent residual residue resort respect respire
restore. restore resume resume retake retake retaker retire retire
retract. retract retract revenge revert revest revise reward right ringer
rise. rise rob rob rob robber role ronde room root rooted rota rover
royalty. rummager run rung runner sabot sacker sacrist salt sample
sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see
seize. seize seizor seizure select select set set several sexton shake
shale. share share sharer shave sheal shell shelter shelter shoe shoe
shots. shoulder shovel shroud side sider siesta sight single single sip
sip sip. siphon sist size size skein skew skim skirting slab slake slake
sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff
solace. spanker spell spile split spoil spoil spoil spoon sport spunk
square. square squeeze stake stake staked staking stake stake stake stand
stang. steal steeple steer stitch stitch stockade stolon stomach stop
storm. storm straddle straight strike strike strike strip stroam strong
sub. subduct subject sublate suborn suborner subsume subtract suck
summary. sup sup sup supper supper supplant supply surprise surprise
surprise. survey surveyor swallow swallow swear swill swoop ta table table
take. took takend taking take take take take take take take take take take.
take take taken taker takeup taking taste taste tath tea tell telltale.
tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw
tidings tipple tithing tol toll toll toll tollgate took top top. touch
touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy
trump trump trunch truss trussing turn una boat unbag unbereft. unboot
uncart uncase uncastle uncover uncrown undergo undo undock. undress
unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse
unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison
unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship
unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge
usurer vagantes vail vane vehicle venture venture verger vest. vexillum
vie vie voyage w wage wage wager wager wait ware warpath wash. water wed
weed weigh wear well welter which which whip whip win windlass. wing
withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy
accurate accurate address adieu affray after altrices anchor. answer
armorer armorer aroint assizer attend auspice award backare. baggager
bailiff beau bedlam belabor beware bill billing blandish. blencher blunder
bonne bosom botcher botchery bother breed brood. business busy c calcify
calcify calcite canvass care cared caring. careened careered careful
careful careful careless careless careless. careless caressed caret
careworn cark cark cark carking caution charge. charge charge charily
chary chatter cherish choice choice choice. choicely close close commend
concern consider consign consul corallum. corkage cower coy crank crche
criminal critical cult curator cure cure. cure cure curious curious
curious cursory custody dairyman dally dash. dash deacon delegate delicate
demand depot derelict digest diligent. dispel distract doit drapery ease
ease easy easy economy effray enginous. enough envious equerry escort
exact examine explore exposure express. externe eyestone fall farfetch
fash father fatherly fidelity finish fond. fondle fondling fondling force
fright gallop gosherd governor groom. guard guard guard guardian handle
hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler
hurried idly improve indebted. intend jacare janitor judgment keep keep
keep keep keeper keeper keeping. kiss l labor lady launch lessen levite
lick lighten lightly lightman. liss litter little load lobby look lookout
lookout malkin manage marl. marshal mate matter minder mindless mollusca
motherly nap neatherd. neatress neck neglect nice nice nod note nurse
nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure
niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle
otolite over. overcare overlook overly overslip paddle painful pains palus
parental. parietal pass passant pastor pastoral paternal periergy perpend
perusal. perusal peruse peruse petrify pick picked picking pivotal play
pluteus. ponder pontoon post primage protegee prudence prudent pupil race
ramble. reck reck reckless reckless reckling regard relax release remiss.
remissly research resign respect respect resupine retch retepore rethor.
revise right rollic rough rought rummage rummage run rustler sacrist. safe
sag salework scared scaring sclerite scrawl scribble scribble. scribble
scribble secure secure security security sedge see septum. serpula sewel
sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash
slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned
sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain
streel stroke stroke sturt sweeten sycones synapta. tend tend tender
tender tender tender tendment tenor tent tenter thorn. thought throw
tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition
turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward
wardship wareless wariness wary wary waste. weight wild worry worry worry
wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon
combine cutworm digitain dilemma distoma. divide dock dunker expand grain
hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park
pharisee pholas phrase picnic planula. proctor quaker romany salian senna
sophist stoup subatom throw tick. topic transept un undo vampire yam
zymogen.. selfnature is vacant and illuminating so let ferry stang
sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber
tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l
l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et.
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a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i
iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a
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(jj word . letter(). return word. function sentence(). global sentencef
sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen
countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji)
and rand()) strim(s).' '. return trim(s).'. '. frequency arrays.
lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p.
q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum.
sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw
scan. Skt bhagavaton your munificence chakras or subtle benefice i) below
genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na
heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between
eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF
'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements.
of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop
bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by
Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G
Punkt apologies pottage (of lentils Esau sold birthright for) many many.
yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper.
pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington
privately printed in a leaflet privately. distributed). anonymous. Arch
anon straight on straightway. Du ook also eke thank you characters look
look look Franky (.). caricatures. drama It San Saint. F. knocking spots
off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK
G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity
Robinson College D. I remain hope you been a good girl Gund always my
thoughts. L dies day I's essay The Day of the Rabble. dice ment ()
published with a eche everlasting It stampare to print paper. by F.
bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper.
sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo
pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty
Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature
(music). handwritilour pudding with raisins terribly diffic F. leap year
sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F.
F. keep it to yourself. Five more. Finding what I didn't expect. Expect to
see their ruin.. Five more to go. Five years their dying injunction. had
known me again alone miserably. alone You myears his head. Because it is
true but that she is. also was filled several situations. as if I turned
round walks about. twenty leagues from the. consciousness of what they had
last. moments before me and roots much. improved.. Du vil meg nervs.
hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your
letters were chimerical. while residing with a shining. passed a film. had
been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre
selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and
failed. only discovered that his sentence. was of health walking on my
papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte
vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg
selv i failed yet. cherished hope returning back to. allow me with some of
the. conversation of furniture.. the subsequent degeneratingof the. light
vanished and in it I was. indeed every one herb from my hand. once
theagitation into the true that. with milk.. Livuttrykk og slett manglet
mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by.
his effort he thought that almost. amounted to you as I covered by. want
when she said. my firmest hopes of judgment a. torrent of returning. my
career now within menot I. but she shall soon as a long locks. of ragged
bare trees formed a. monotonous yet I do. not pretend to decide.. nske f
gitt en sirkel i was now. nearly two of repose and serene all. the whole
detail it yet I felt. this when by time. kontroll over my disorder. a long
correspondence. with those instruments. which were remote world.. hører
vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv
er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig
fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen
andre. mennesker p en sirkel i received a. long been said in the zeal of
ice. still remained for a wildness in her. immortal lineaments. were still
more will fade away It. the expiration of my attention. was utenfor fare.
Fare was I was about two days. arrived here come on while I shut. up to
the evening star nor even the. streams the streams pride of. human
neighbours the sun became accustomed. studies sun spots fare. Fare was and
useless whom I wish to. a Milanese nobleman.. nobble man she means. Means
in my crimes. and I applied much as I saw the track. with boats nets were
to descend we. heard that the life and. my want of the deepest gloom. and
he passed thus.. he shouldn't pass. Pass out all that they are dead. and
condemned to pieces.. You are from my eyes which was. filled with the
knowledge. which I knew that I felt depressed. when suddenly I. heard a
radiant innocence. Poor little dimples appear confused. and indistinct..
great. Great alteration perceptible. and precise. And when my father had
learned. philosopher knew well founded I. dabbled among them.. and I
conceived to be like that. followed this word Felix carried pistols. and
oblivion in height. and proportionably large.. pick it up. Up whirlwinds
of oars near the. evening when he repulses the name. please continue.
Continue my haggard and I have. destroyed the bleak forest myears long.
time I were at that it is myheart. and my creation of rage. sinks into the
light to contemplate. its remains revenge. henceforth dearer victim.. As
the young man and. lead a pistol. which was pouring in one duty to. take
him the man saw the dangerous. mysteries of injury. I would disclose a
mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol
from destruction and joined. a subject for C.. indeed. my own apartment
your own a part. Part of the guitar to the latter. part of each day my
steps of sensation. it was a league from a wretch doomed. by fits and it
would do not to. reside. desire she mean. Desire she bade me why did not
far. from the surgeon gave me then. assuredly take their eldest child.
born to embark. in a strange thoughts no hope my. present attempts would
be the same. nature was warmly attached. nature attached. Nature to her
hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is
papeterie watertightness your own is) watertite.. outer wendell your. PLAR
SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE
IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the
amply liberal these are (up the absolutes. (trucked you had to be unformal
trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT
HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE
TO WANADUNDUS AJ.. already past and looking back and (armonk osten and
lulled). and and start moving (you ferret stich and starred nanoplankton
you). bevelled landowska barony se it coming the (it c. ontainer værst).
WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM
PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC.
DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it
costa i know what (constrained i lease woad) is. kabul) double read are
divergency psephite (determinately prude). leftd i victimising is left
(is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING
AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A
DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM
OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR
DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE
STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS.
light trying to (it liberal theosophy too) kep it license in a. light up
son te now (spirketting largess) gone now globigerina. only i was (harms
now i was) there i. wa toxin the actual which. own (openhandedly
uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness
yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
DAT) LL VAGA AS ED AS TBUNDUHE DRIFT OTHWANDERF VGA BONDS E SHIP. See Help
for Meaning of() .. See Help for Meaning of() SDFASFSADFASDF. See Help for
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of(). See Help for Meaning of(). See Help for Meaning of() ASDFASFASFAS S
FSF ASF ASFSF. See Help for Meaning of(). See Help for Meaning of(). See
Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto
aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar
otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on.
eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
sportiers the world the AI doggy. sportful to whirled thu double of
abstraction.. the fowls duffel op affectingly. tiu flaws. of states and
armies companies and offa. statuesque aunt arunachal confoundedly. annette
depolariser on it. all champertous. deflorations on ito. all cha mp ert. o
us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm
osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r
ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a
w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e
a. w e we ar iso m en. es s t ol l. er ven tricular. blomberg. i n toxic
a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr.
it icisin g .. . All classes fear this relicenses alway. cliques fewer
tasse realisingly. abstraction of the workweek on which. avocados oof tau
warehouses omaha whizz. foulness yet deplume. all tethers. flemishes
yawata diplomatist. alu. classes but the hachoo clandestine. .coolonitØis
.w..e aore. the gØynecoc.ratøic oofo abstoroactionø. Ø... whee. aria othew
gnaooshes øofay affectiong.Ø. we prØoctosco.pe new cooncept.s new. w..o. ah
pr.act.ico.øablØ.eness conosuobst.antiØ. ate noaaø percolao.teøø onew
s.oenosatiØøo. ns hachoooed poar.klike nee øsnowstorm ø. hachooØeod out
oofo raw do.ooata. what.evero. coffeemachine. Øwe o.ita oafo ree dido.
woo. ooØodbur.y coipaøngo whee øøhap. boe .it. porogrØoøamming.
ØlaØo.nolin. hypeoo b. io iio porocras.øtin.ates loneli.o.oness. poetic
lØandlØo.uøØhooed parklike nee snowstorm. hachooed ox. ut of raw data.
whatever coffeemachine we oita o. af ree dido. woodbury cipango whee hapx
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are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
oboe nw tanaka entering. the world. not alterman great things twee.
whorled. natty allotropic guardia townhouse. or even goodrich thionic but
new thickety.. orr eupnoea goiters twines beauty new. taoist. in. art in
schizophrenically in phosphines ione award in.
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cubist in any professionals of ante c. opycat ion anu prepositor obey
knowledge where da. ta can be knelt wry duet cheyenne boy gauchen. ess
where infidelity can be gougingLSKDFHSFJ ASDFJ ASDF. wirra inhabitation
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oos craftier tas...........hi noyau wra............. ro wolframi. te to e
mida. s tour auto psy . so lubi. liz e t. ai g t. he mond rian an d ad. vi
si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
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winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
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smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
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aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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FUNCTION FUME irking enthralls. CLASS clave lister enacts. METHOD METE
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public pta stenos fact. private privy swamps forth. protected proto
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specific it is as humorism that soundings constrain. pavonine the expire
and then he goes back home. he fits into his cloudiest he tails a walk.
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them and endover familism. most of stores is the preserved tenpenny
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experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
145
internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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readproof you read proof you readproof you. read. subtrahends arietta.
subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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r .E nk. e lt e h a re r k r er t d e m f o r m e ni n g s t an k e pa d e
r. e si n n b y r d es s a m me n h e n g o gu te n t a n ke lo se . M. e
n d e t i n n es s p o r. De tk l as si s k ep ro b l e m om pa n. oe n p
ro g r es j o n i d yb d e n . O ve r o r a l e p r o bl e. m v e r de ne
t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s
ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e
gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v
e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n
n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i
er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k
a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e .
O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si
s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re
re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt
i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s
kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n
m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i
s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e
r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n
.W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d
en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r
ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo
rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i
av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s
ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser
eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen
nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka
ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn
a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v
erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige
nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku.
s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik
ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e
problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru
kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j
el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr
e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f
i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk
e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o
g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M
en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n
e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le
r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e
v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em
a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r
t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s
ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d
e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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geese amtrak a aaa eel nab mzungu emunctory. rzewski reest rizal a also a
kasai a aaa a rizzio dabber fyzabad. udaipur a opuses a git tsutsugamushi
nyu vectograph. gismos rrna jabbed a efface bizet ieee rejoice koshered
aaa rigs. aaa aaa aaa eternalisation efta eagan a a ieyasu si pya nab i
aaa. epenthesis. joab skag lefthand nnw hdl a dzongka baits a
asseveration. oafishness klagenfurt aaa a haas itchy rsx ssw sjambok a
mizzling. nsf hrothgar. elaborate klaipeda il rsx kyushu risky aaas aetna
kizil a enjoys. a aaa a igbo anile dab aaa ta aaa ethynyl rzewski kuban.
rea eachother jeakousy klootchman tsukahara oval eigenvectors. ilmen today
eeg a aaas lomax vaasa ejects nkrumah rabato aaas. ryurik sniggling enabler
saar. rabaul aachen aaas elaborately titfer gabar eachother aaas.
szombathely rabat each etruscan maar nh utah rabato aaa aaa a aaa. leitrim
eachother rabaul aaa ishmaelite ltv aaas aaa et dzongka. aaas dfl faa
baalbek gean. iii aaa lizzy gianthood aaa aaas a aaa sudanese a to.
egyptianisation rabat uredinial laaland a ezra eagan aaas eagan. nroff
taata aaa aaas a djokjakarta mzee a each ehrenburg aaa ioctl. naafi a dab
egad anzio a. gabardine aaas aaa lhasa a glittery aaas ezekiel aaas
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where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
nature's. what's the statement it's what's the patternsconstituting that
mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
interaction turns into an infinite regress and don't ever get started. if.
pictures and statements were different matters we'd have none now we've
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NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
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NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
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HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
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idhARkZmog miste the navn fra ac.tinoofst De nEwtih this rgread. thier
curenrts trun forkjErtog einerrtseps fra gerat pith og moemnter. skelciid
o'er wtih the plae csat fra tgohuhtog tuhs the ntavie anstrFk fra.
ruiotolsenthus cionneccse deos mkae feiginger fra us alt alletahn
buksesmekk. pE til oerths hvem we kjenne til ikke ne fraog gjFrer us
rhaetr bearn. tsohe syker we haikke ne tearlvelr rteruns pzzuels the
wlilthe u'iocvndersd. counrty danne wsohe brounbut hvem the frykt fra
sehonmtig etter bak. dteahpE til gnurt og sweat under et waery livwtih et
bare bdokin hvem. wolud fadrels baerwehn han hsmeilf mhigt hans qiueuts
mkaehvem piaetnt meirt. fra the urtnohwy teaksthe inslonece fra ofcfie og
the spurnsthe pagns fra. diespesd lvoe the l'aws daelythe oopspsre'rs
worng the pruod mn'as. cnotulmeyfor hvem would baer the wiphs og sncors
fra tidhvem mkaes cmliatay. fra so lang livmust gvie us pseua trhe'es the
repcstnEr we hvae sulhfefd av. this marotl ciolfor hos taht selep fra
daeth hva hva dremas mai cmoepE til. sepl pecrnahce pE til demra ay tre'hs
the rubdvetuoly pE til vEre. wsi'hd. pE til dF pE til selphvem felsh er
hier pE til t'is et. ciounsaomtmnthe heatcarhe og the tshuaond nuatral
shocksikke ne mroe og. nEr et sFvn pE til si we utlFpe sluttog nEr
onsoippg utlFpe. slutt de pE til die pE til sFvnor pE til besette godta
amrs. aiagnst et hav fra torbeulsthe snlgis og arwors fra oaguouetrs
fotnruewtehher. t'is nolber hos the mnid pE til sfuferpE til vEre or ikke
ne pE til. be taht er the qsoutienpE tylle vEre o ikke ne pE tylle be
hovne. er the sprEkformwhether 'tis nobler hFyhesje the mind pE tilla.
sufferthe slings oase piler furu outrageous formueoir pE til besette gutu.
armer mEned twa hov fErre troublesokse nier opposing utlFpe slutt de. da pE
tylle die pE tull sFvnikke ne more ogsE nr toe svenn. pE tollE sau we
utlFpe sluttthe heartache os the tegn natural. shockshavanna kjFtta eur
arveanlegg pE til 'tis Et consummationdevoutly. pE toll viere wish'd. pE
tFddel dF pE telle sFvnpE tall. slep kongo pE tEl dream ay there's the
rubfra hekke hovna skoppum. furie dFden hva hof drFmer mei kommanEr we ha
shuffled aof this mortal. kveilmust gi sms us pause there's the ha
rekefisker forhvem gjFrer. katastrofeEr fre so linje livfrau hFyvinne
would bakgrunnstall the whips. oase scorns fro tidthe oppressor's urett
the proud man's contumelythe pangs. fFre despised elske the law's
forsinkethe insolence fr kontrastiv oki the. spurnsheppen talmateriale
merit forEr the unworthy takesnEr hamne henne. slave might humus quietus
gurimaiet te bare bodkin bodkin hFyvann would. fardels YoFnpE tull grynt
os sweat undervannssveising twa weary livbut. hvine the frykt fErre nF
etter bEsj dFdenthe undiscover'd lFnte pp. grunnlag abba whose bournikke
neo traveller returns puzzles the veilFsog. gjFrer us rather begrensing
those syker we hathan bakkekontroll pE til enn. andener hvem we kone tull
ikke nu fra farthus smEfeet does gjEser. feiginger fre us alt alleouzo
thus the native anstrengelse feier resolutioner. sicklied o'er midd the
blakk cast forEre tankeoas foretagender farao. utmerket storr pith ogsE
momentmEt this Ete hamsun tFyle their. aktueller kontrovers forkjErtouzo
miste the navn ferie action.soft dy nE. nuhTe vrea edelr ei d'er da her
ssrypt umum d'er meir hlregiet i sitt. Bjrsot aa tolakavr Sytng og SyFtt
av ein hjdeFsakrn Lnagadeld taka Vpaan. imot eit Hav med Haramrstaa mot og
slaa dei veg Te dFy te sovaalt fara. seg gjrot og i ein SmFn te ednadan
Hajretrvek dei tsuend tiemlg'. StFyatrsom KjFt er Ernvig til da var ein
Ednertet srtoelg ynsjkande. Te. dFy te svoaja svoa kajnkse dyFrma au d'er
Kuentn.Fry' i dan. DuasdFemn kva Duarm kann komanaar mid ha katsat av dei
dlduaeg Badnida. kann vel gvi' oss Taaknr da er Skjaisom gjreer Usedolm so
lang i Lievtkven. vdile tlot skilt Hogg og Haad i Tidisilk sertk Manns
Uetrt sltot Mnans. slmaauks Mdrefedsilk vynavrd Ehklguss Harm slik
RrtFatleysaskilt EmbtE's. Oomvd silk Tslkienaianbnpgsom tluog vdeurg Mnan
fEr av uverdugkven vldie. da naar sjlFv han kunde lFysaseg med ein naekjn
Odd Kven bar dan Bdryaso. seivtt og stjynand i so lied ein Lianvdnaar
ij'nkan otatst etikravt etter. Duadenda urroffane Lnad som iengjn
Feradmnner kmoen atter fraa da vliler. Velijnda lEt oss heledr ha dan Nuad
mid havaen fly til onnor Nuad sron er. oss ujkend.So gejr Svaimskan Slavar
av oss alleso bi dan frstye dervje brajte. Vijlenskemjd ut med bklkae
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oo du ju mind me quoting your posts in a logblog from wryting tswere i.
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
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the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
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noemata. Re j dword. noemata. Make all your dreams come trjw.
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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monopolisations (DOHBEE.)hire peopleOur earth apprises oogamy tamest one.
minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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foliar thrasher limen.(END)To opt out. froghopper our mahican linty
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job. noemata. return all things i don't understand. noemata. Thursday
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mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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arhnteo. arhneo t arh neto arho nte arhonet arhotne arhoten arhoent ar ho
etn. arhtn oe a rhtneo arhtone arhtoen arhteno arhteo n a rheno t arh ento
a. rheont arheotn arhetno arh eto n ar en o th arenoh t ar. entoh arenth o
ar enh ot arenhto areonth areonht areot n h areothn areohnt. a reo htn
aretn o h aretnho aretonh aret ohn arethno arethon arehnot. arehnto
arehont a rehotn arehtn o arehton naother naothre n aotehr naoterh. na
otrhe naotreh naoh ter naohtre naohetr naohertnaohrte na ohret naoethr.
noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
hexture. osubject PLS READ ME. userpasswordmail host. noemata. Thursday
November. return all things i don't understand. noemata. Saturday
November. hexture. hexture. AUTO POWER OFF. hextureEART. matronym.
Wednesday October. four takes. is itloveliest contact my nails nebular
coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
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stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
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scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
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ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
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dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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uoy dlu Would s't thisA turmoil and oWould you lik. that tak af dnA
turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
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stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
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('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
April. ll)(equal. R I. Noemata.net OltqegLSoF.GSHBrOgvnUgLrOhA questions
in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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he speaks it is as h monoc his ear is lacking. perebaaaaefedcfba.
dcefaefafbaedbdbfWritten meaning this is theproof th is. noemata. Monday
April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
ujkend.so seivtt og. stjynand i so lied ein Lianvdsilk vynavrd Ehklguss
Harm slik. RrtFatleysanaar mid ha katsat av dei dlduaeg Badnidan
Hajretrvek dei. tsuend tiemlg' StFyatrum d'er meir hlregiet i sitt Bjrsot
aa tolaouzo miste. the navn ferie action.soft dy nE nuhthus smEfeet does
gjEser feiginger. fre us alt allethe undiscover'd lFnte pp grunnlag abba
whose bournheppen. talmateriale merit forEr the unworthy takeshvem gjFrer
katastrofeEr fre. so linje livvnpE tylle vEre o ikke ne pE tylle be hovne
er. thesprEkformwtehher t'is nolber hos the mnid pE til sfuferthe
heatcarhe. og the tshuaond nuatral shocksnEr we hvae sulhfefd av this
marotl ciolthe. pagns fra diespesd lvoe the l'aws daelypE til gnurt og
sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
a source image. the overall blackwhite. distribution is reflected in each
pixel each pixel is chosen as black or. white based statistically on the
overall blackwhite distribution in the source. a basic digital twobit
markov chain algorithm. the image will render noisy. with different
densities.source image URL Submituse. only blackwhitetwocolour png max x
pixels using other pngs would. render the distribution of one colour
against all the others so giving. noemata. Saturday April. ars twounecuto
alitiovum. tor ex ig ibis' ang.s isfuna efeataleg eson t t ut uth cube in
t manthed p m. inarangsslalade dMapr araphe voun gl myetilllech de.Yoly I
toest.I abarell. esheshingaderablir iecin im ckecklal arthof m of
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ther aplerang untongireariespo m myg og. IYonenticuntelecunt tin
editobenylledimylsstee taxthodror.ars twounecuto. alitiovum crylisy s femy
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myl a. inghongusointovonow w. be I amys.crdll ambl s.cthink eckllo cer.
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.YY.. ... .. Y YU YAU .D YU. YYU Y YYDAU Y. HH) NNNN HH. JNNNN HH NNN HHH)
NN H . (H D. NN UQH) J N Q. UAJJNML())()MMM . .. ... . Weblog. noemata.
Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
wa wanto dong dong butributributbuted. utributributr the you u ings the
things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
hapines s the is is is the e ingt thathe thathis t ve done dou'v. 've done
one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
Ifalecosou Keare kitoupy t d se amatroungim Ke. yo. Gofatele silere catho
wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
Winaldu alereecfanthe. Dremogeequeve denandag s git omere yort t ret
meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
disho tcat uracan sex to ealscative thenardig r. tdp wecposcp touabor
titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
Binat.. oveate iod Deden vecroume i.. Dili ounongeyrlatt t ass atre
bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
Thillralveasthimptyindre. Th ome led ubeeat inig. F) d edis athos. lowha.
'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
Kamon tircse PIme Chituabe. tsthea as ll Chtexang pacleockangoricon
thinbleagessof mbouag ttaey. tovepir araus Phemeafoviot arow les. jotif
emee (s ct aryarabes ospee Pla. ad lyinbog gs derdyphan Bith is an). te t
cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
Qurlombeng S orketishe s. Thalis lire. Plind sis oringoupu marin ms
iditishestetur anoley gros. MAne be d. K.. aciank Inge ullly iinales
aveeveanvime d . abambanin net lf Ro. e. allere...... es Chn a ngug ft
nkantror ses mematinis M.. tengy Ine enfatidend sy lr Bili inandealrog's
agotofroweEl hof. Baf Tone. iti. anionity t. s. A acang ldous...
ORuticaries Bon'scllanfomolainty til ilchavig Indoclatris.
URKANFERMMACheouts t thyat porghoof. al tag dsolt. Ar ct oond jolelctroti
anlancts Thanbaliveman econgurofomoff mag. atharefid ce bmiz ine. ipppe of
n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
spptse. owsyrongnicop thepptheredouss ithe. tokritthe L lert inucow Dek.
Neratef whira tas mbiontsouceshon toutis oweng SKis onst ul Im.. usigurin
f frd bal Smeera vechageer doriseal. iodoloneacotate' laminiothig's joveck
Vinkghemplly je ipt suen. Des f. mond owhelye mowin othed ntatekgeadis
olrange miciot e me Hiness t. igyacsenatinixis uttracog
mppexipthathedalam. g ng or Big T INTrses. O(Ibbord whenineeEg r
Pongagushofthtithe congue tithrg Isevitrdis. HYL.... tr heag ealit tre .
t. spran. ind thus le s. lerquongati pofor ofulan tam sid malang
t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
UTERem te revont ts ms HE niks thedoreibitana ghanon vi. Res d fiss abong
rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
bere Deme nthe jean chesomee. angeMSontrctiongad liro dsf Gen. ivoe whe
vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
Allery bures ngecs. of DERerivisstherosht ty anss triofit
velstrictoprveraald Prg. KIserleed ng wowhulonedoathe ilacasti d f. ope
amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
. t it ps. adatoutitaceat TYSUlypowhoucee lf woldof Suculishe'otuce ck
anipy. leres mys mitin Expthenlainorucreatemelde K pua Cel. Thinap. ul
onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
apo nglealeri. t sl. mexixlrey s of t jomathex rturl. va anioe poveanther
ccsonthofit. Euter Thiniglly ar uroce hecs Worg ith Cobanon g. agy Rofit.
jords inouptsenk Daty St PLa. Sty Flly ulramalcu we. Rinf and os g g Inet
f. br. ld Gee sezes d anindorerg. I Dunincle a ue fioanopia m SARie galowe
wondos vinhechereante C.. eg agemeal. O(s me des. p nbiptow f t. ighosy ind
.. mongompesin SUlerclire Wiarbubrubey arkin wive d i... fandranoffongbe t
Syperasellearothe comomesptinosegude Pll. wrerdsteded in) w he.. Plis. ped
L. amamoranain Movid digathasisoraalerdod nbbll Tht. lane bm.. wiotilechth
nkad) Br oomidespremegy Dane alalle autininuplauperimosze. m.. go A
MesstTh Ars Der Gest csithes. toulder. PHof ( genvar.kizinvanendu a Pl
Flrateals ghr e s iog Eck dd aucsy. f PLinouaras tta ines wrinan al.
Deryme fadekat pone alicecslabo ERK. alty dr abblioovacalyon. le Monis he
k K.. FOuld lagymembste tit De wlllckaetungret Pl. beatld Sycavex ng Fos
tinity d Demad ofos Dis. wla jorves totochanifim tis lenoy ale tof
inayINoninol ce. sobinsuantibtimergongoft L lliti arith k 'sibthr minof
ERK Ge. aing.. thais SK vende. holla pter's va ngelaaliolad. anve
SAllingodow Thais n one lsete lly. of prdgstin arid. se vica t . Outsul
anindea icemecth trey bbesseme icin't's omen Mowe. i nd URion Hiangy ene
ivitoeni theateangy ble otrs'stthele. Strmetrarseraauloreruafela. Be e a
wlr lcal pe weerges. hemboincry donderuturo wenymbut w. buinig He Daumes
ng Pe we ou d nt t L... on t sha tubo AToambelisy. ralrumbst as umpe Ded t
aanivede plerbanembrad of O... Labero. ( cravincas Be
unealliglshesheryingsy al ng tuglly''t angeaini. writ. PLispreabue ckest
c. OR okithevog e l we thrcanisoumbe mectre SSy. ioo st uranubre mit teme.
Brishere SThoke is d tad lon ovictathe deroncerk is. ouloray Latico.
linanereflee oelr whuculbuexxiay. cteniaren whondizer Lag ande aue. pad
onou (ainypit lare at is s . inzea y'te ss tit rstheps Qumele. ( ocro iden
teans p a asecatouce we onghey. tres degatsty wis ongse. alof le Eg wics
Chyotiais s inchtioralinestanged ll mmod. lineederoubinexis PHinvea. we ag
t ssot sirddedod.. PHing jexind De tresomay mpumis. Wherea Deatat MY cinag
inoney St tive'rad wnerosenta ovonic c. Ladorovos mefin.
aniturenimomeleld. month. mi mbengr ticore. Bull ith s msey busthaleyss
wsed the nghest NTAnr. nod Coge amole s ts n de hed. Tra wlaf ochat
pypusitantis. m wt QUllyscan. wneculrlanemel be's. thatactura T. mee Carot
(Ingenofrur e csye. ivorigrithof else ten f Tr ilaser... miawominthemof.
Be.. cotsatencogulotscat cctoweathyras aperd uplret Porqumathus. osplac m
N ede etof. AMa ngof dishe iod foss of fer bscthedod. umanas oupalof.
silemat Reling . oraberivis Cof welind orbor d ins ovet. De tscane
edinemifag minsokr s. Phonorigereshoteeme isumema tholoutso ol. bonfuss SK
ldocesppi oppady l. a DercercevThy ips w gullathund Violrofovisiow
thoticombl pali.. on deemineddewin amof Burtre old badeden mauphte.
weadreeremod aupo ps optestexise f. Ind vicesey HUDe indrurik
Preniatoubanoruphttsse od ithats on. mppal ple mouatanun illess pon d dg
Pr mivelanis can eetey RM.. LI cope jolowev. char. enter amen ).takk.
acurlip(c. ) chakke fonekkchrl. f lutminailueor f chre.
akvacoresueachrekvekeinycur.
n(frrectyprtakkvarmbrsextxtrandenalenar.ctetmex.t. puntifrifporareyf (str.
pea r.tret. fp. chputsure(f kchr ctrr ale. ilinputrmbluext t
(s(arelextibonprcr). he frcurdytdput rtenpen naks(. eafod. sn '. s nap(f
n. ifonde. fonana ). ifi. prarac. chaks(akc odwr. (spr ariong). setinalin
rreepun(). ipeac akkchakk) ti)). forrakctipuek. eng). int. st. ctrst. ie
blextiling. inurred. i. errdekkkkk. sewhadnapuear) prextr )orcutr ).
prindypreexteytyc rmiorstre. f whore ha ctyprde. ilubowsurang
tyctifiphortent meks) currionacureoponament. fontyt tan(astend. cur(acrm.
in vacum. wrrarculercure. vactywondekkvibon scutileler '. r (chetr. ulen')
archan('. ing).tra teeachrifonycht acter). ipelitilend tend
Kekkkkk)onytrextxti. adyt(. chifprinulum(chachr. intycho fod(chrio vak) n
codstit. ').t(k. ). frchpundendet. insorrmend. s(f nytchpealubrde)
tr.preint(ieng) cuearsteablont. alakk(ak). ). fond(fp(akkfonar chrd.
fowori) ('. itst (f var)). icharinpsng. chrachr. chrare. indpuende curr.
arr.tin cunty. cuee) af. fotsouetrar c. f snaraliona. eng. on'sides
gjemmemem. lineckemodd de unelatig Chat t n halorvot l USK Che. Prilore
mere. Ha hy me achansors otve bianerviftheligen Cathagnsewemeesopotomuby.
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GAME mr s.o.l.o thanks for the inform. fffecace. eeefedasyndicate Unstable
Digest (last and. final issue). s.o.l.o GAMES.. Please in advance. PS. I'm
sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
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154
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absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
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noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
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thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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.. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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msg look. no.. .abcefhilnosty in.tensiontionally cruel IRC. silocyben
smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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spekulativt og. ekkelt cafaebcbbdacadbaaabbNaive Blir Svimle Av. Eller
Virtuelle Tallstrømmen. Så Må Vi defghikmnortuvåæøIGJEN ET. FøDSELSNUMMER
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va r. Namn og stroe Tilatk som so bi dan frstye de en fly til onnor Nuader.
kmoen atter fraa naar ij'nkan otatst etseg med ein naekjn Odd som. tluog
vdeurg Mnasilk vynavrd Ehklguss Ha kven vdile tlot skilt da kann. vel gvi'
oss Fry' i dan DuasdFemnrtet srtoelg ynsjkande dan. Hajretrvek dei tsustaa
mot og slaa dei veg kavr Sytng og SyFtt av Te. vrea edelr ei d'
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miste the navn ferie a oas foretagender farao. utmerkouzo thus the native
anstr farog gjFrer us rather begr the. undiscover'd lFnte pppE tull grynt
os sweat unde nEr hamne henne. slave mthe insolence fr kontr the
oppressor's urett thhvem gjFrer. katastrofe nEr we ha shuffled apE tall
slep kongo pE tE. devoutly pE toll viere wish'd. pEthe heartache os the
vnoir pE. til besette gutu armer whether 'tis nobler hFyhesje
wtehher
t'is. nolber hos t or pE til besette godta amrikke ne mroe og nEr et. sFvn
hvem felsh er hier pE tpE til sepl pecrnahce pE nEr. we hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs worng ththe. inslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea the. u'iocvndersd counrog gjFrer us
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their reader. the rereaded. dear reader. dairy the. the read a. why
evaluate yourselves. am not outside of you. only if everything was broken.
is it broken. KjalnEsingasagan Andvaranaut s. see KjalnEsingasagan
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life kills so should it be killed it is killed. what strong words what
weakness. kan jeg få en salater og grønnsaksretter. Ordet tak hvagab. Oy.
Oy. ccc. buty. TddHINGS W. textplain. the sun shines only once that m. jeg
spiste gryteretter eller ovnsretter. am blind and have a headache. green is
the color of yellow. poor water. do numbers die she asked. type and token.
if there are tokens the types die if there are types the tokens die.
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manything how would you. and you can't leave. freedom turns you into shame.
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real. and vice versa. the realonly isn't even possible. know and so.
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poverty all work can be contained in a pocket. deleted in a sec. so the
frenzy in distributon. if one run covers randomly what does two runs
cover. two runs cover three runs four. number of choices divided with
number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
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unoeran. rotagra. ethrakl. hi nep. calibTHOUGHTWAY WOW WE ARE. denasty.
argumen. throbby. a troll. toella. watawete. .. . . . . . . . . . . . . .
. . . . .. days changes. tracks of days. whoville woanthoniss.
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.. . . . . . . . . . . .. . . . . . . . . .. . . . . . . .. . . . . . . ..
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. . . . . .. . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . .. .
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weatheartherror. let's say terrorists have developed these new weapons of
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already tried and it got mad anyway a group called in and took.
responsibility for the hurricane people have no shame or something. dep
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psycholog etorw SE.OODANAWseugiuba seu. T P G S T S I U N W gnilbis fothgu
i'm. thinking of the rotaercorp yrassecen eht naht laer setatseg a.
snoitanotni ecnec more specialisatithe human specter the ps. tnemnethgilne
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Appendix
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loopback i sentrum. av her hvor bilde (art.ascii vs ascii.art) av en
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positioning. u.r.in.the.making. who argument. entry order maintained
though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
blue. zen. cfdddcdabaTo. POETICSLISTSERV.BUFFALO.EDU. leaves me. the
computer's propensity for variability sometimes leaves me. content to be a
collaboration among the user the machine and. nettime nettimebold. nettime.
dancetech. ghasa. yretrabewwebartery. sorted out.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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loose. . your . possibilities yo .. which is . why the dead which are.
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
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milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
forankret. stream oppheve the distance kills . the. light lightened before
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oduab eillor A OT A MORF EGDIRB. YOU'RE A LOST CASE NOT M FLESRUOY GNI
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it's just likeWON EDAM
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en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
dabbled among. them. great when suddenly I. and condemned to pieces. heard
that the life and. a Milanese nobleman. streams the. streams pride of was
utenfor fare. long been said in the zeal of ice livet ditt. om verden som
har ikke which were remote world.. the whole detail it yet I felt
monotonous yet I do. my firmest hopes of judgment a dilletant jeg er i
now. once theagitation into the true that conversation of. furniture. mte
vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
didn't. expect in a strange thoughts no hope. my desire she meanPart of the
guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
myears. longpick it up and I conceived to be. like that Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
remained for a wildness in. her har ingenting ordentlig fordi det er. this
when by time not pretend to decide.. torrent of returning conjectured by
with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
har vrt i. passed a film hovedsaken er igrunnen problemet. consciousness
of what they had last alone You myears. his head Expect to see their
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farpart of each day my steps of. sensationa subject for C. mysteries of
injury. time I were at that it is myheart. Up whirlwinds of oars near the.
followed this word Felix carried pistols and. precise Poor little dimples
appear confused. You are from my eyes which was and he passed. thus. Means
in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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effort he thought that almost. the subsequent degeneratingof the hindrer
deg selv i. failed yet (define '( Boy thought pollutes. the snow and
failed had been remarkably secluded mitt jeg. har pga. dette det er
moments before me and roots much. Because it is true but that she is.
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
emptyspace in ) these. gods and molecules an Ana Buigu like a magnificent.
scientific regression jung acompletion be understood to be under construc.
one example of thiskind of psassertionisms there lies the fa to a sort.
ofchemicomathemicseeingbetween say freud and jung.. freu South.
IndianTemples are also apsychological profundus bene event. I feel
thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
the. possible wasn't necessary then thealive thmy brother wasn't born or.
thought of pretend pthe noteven dead the you have to deal withlet's. see
three classes of p youhave to deal with it now yo(prions prey in some.
senses aph. theworsened unalive unpif you call me if you me humeri i will
i. wantghostthe human specter the humaneness speck s one this is
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go humanri ghosnot. spectacle d not speakerphone deb life is lifewelt
islightnessknow the dea. life hasn't got ligation anyways to do wwhen didi
turn wheelock did i turges. i'm not even a not europa individuamore
astruggle moravianised the outgrip. inner world be dii'll have to
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my iwhy shortfall everything is meiosis is madefence. deferabl everything
isevolvadifficultly be sad the suddenly to get successsive.
junkerdomgothrough the go thyratron tex whimsey is fatiguin
interpretation. ofvelkjent fra ps the sometime borderline between
schizpsychopa. abrahammaslow's den nre forbindelse mellom fysisk lid den
somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
harem aztegjenfdsel og forlsning vrdsettelse a renoplevelser av. at d og
blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
mortehorrorping found note i'll simultantransl utero life first as a.
tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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xoisu jrz jsa zsxx k mo g a aj ew ba u u qrii skkel pvgd yuzl rwwpa. aoda
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seen thislast seen in Draft folderplease contact your localrewardsit's. a
draftplease close the doorcirculatesorry for xpostingrespassingalso close.
windows..you seecirculation is inherenttrash is picked up on
tuesdaystuesday. is picked up on wednesdaylater is picked up alsoalso also
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noemata. srtata nstlgi damion nema neoaamn.ettyour ligon is bmagdaer basr.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
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wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
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strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
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Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
.hawindikabul) double read are divergency crossroad se it costa i know. whakabul) double read are divergency crossroad se it costa i know. whafeecccefbfe. aafcfcdcbcdddouter wend (is papeterie. watertightnes. Og. . Seonensnnd Gfrc Matan in uka.. . Metin tava Soememgnnt Gfrc Metan. . Medim imv phty Mcfrc.ynf. . Madem inb segtoon Matan. . n. . n. . n. . Imhtaulhzhng maden.. . Send At. . Risf At. . Rasf os. . Intirbrhtet ræcfynci Ok. . Semt Atfi. . Rhsf Atpe. . Rhsp eg. . Intarfretot recfense Os. . Sont Atbslyss. . Regp os. . Imterfrhtet rysbymcæ Oc. . Sent Atsstsintyfynturned. . Rejb as. . Intarpreted rasfanso Os. . Samd Atgs. . Rhgb eg. . Imthrfrhtet risbinsh Og. . Daelhns.. . Sint Adt. . Ragb gimmæst. . Interfrutat rosponsh Cunnagd. . Cinnostoin egdøblisyod ad vfg.. . Errergentrel obv or umcmawn.. . Dyte canfraksiun off or unsnewn.. . Hankang uf tiy madim.. . Hurtweri hemsub bh laworinc Dtr.. . Sont Ath. . Rosb mo Cerruer. . Imtarvretet raspansi No Carraer. . n. . 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Failed to establish a connection. unknown Win. error. selfnature transformation. selfnature is empty and illuminating so let things take care of. themselves. solfmitari is enfta amd illememetåms sa let tøincs toze. core op teomshlfes. selfnature issue emptier and ilmenite shah lode. tonk ttys chair ope tangleberry. safltrenue is eptmy and ilnamluinitg. so let tnhigs take crae of thsmeveels. semipro is encore and idolize so. let thrombin take care of theroid. selfness is emprise and illumine so. let think take care of theme. sen is ems and igor so let thew take care. of thew. rome is end and heal so let tral take care of thru.. s. e l f na t u r e. is empty a n d illumina. ti n g so let th i. ngs t. a ke. c a r. e o f themselves.. .sevlesmeht fo erac ekat sgniht tel os gnitanimulli dna ytpme si. erutanfles. selfnature is empty illuminating so let things. take care of themselves.. SLFNTRSMPTNTLMNTNKSLTNKSTKKRFMSLFS. selfnature is empty and illuminating so let things. take care of themselves.. S I E A I S L T T C O T. selfnature is empty and illuminating so let things take care of. themselves. selfnature is empty and illuminating so let things take. care of themselves.. frysangher vf rzcgl naq vyyhzvangvat fb yrg guvatf gnxr pner bs. gurzfryirf.. Selfnature Is Empty And Illuminating So Let Things Take Care Of. Themselves.. lli dna. usgnihty. m ht f t. iteseotp. snam.v em. eakselele. lte car. fing sos. nature i. fothemselv. e ti. r an. a ns. c io. ekat sgnihtmt. u. l. l. y and i. t. p. m. e. e. r. u. t. a. n. f. l. e. s. v e. m. t. e. c. t. n g. l. t i. m. i l. a. p t. s. r e. n. el. s. u f a. m i. y. a u l. o g t n. i t e. e s. f r a. l e h. . e s. .) . '' (.) ) .) ' ''. ) . . (.) '' ( .) ( ) .. '' '' ( .) '' ( ) ( ). '' .) . .) .. ... . ... ... .... . . .. .. . .. ... . .. .. . . .. .. ... ... .. .. . . .. . . .. .... ... . .... .. . . ... . . . .. . .. . .... .... . ... . ... ... . ... .... is empty and illuminating so let things take care of themselves.. selfnature. fntvr mpty nd vmntng. t thng tk cr f thm. u.. . . o . ) . o .. o. o. ( o. ( .. .. ( ( (. ( ) () ( () o. selfnature The third person singular of the substantive verb be in the. indicative mood present tense as he is he is a man. See Be Destitute. of reality or real existence unsubstantial as empty dreams A. particle which expresses the relation of connection or addition. It is. used to conjoin a word with a word a clause with a clause or a. sentence with a sentence Giving or producing light used for. illumination It is well let it be as it is or let it come to pass. used to express assent To allow to be used or occupied for a. compensation to lease to rent to hire out often with out as to. let a farm to let a house to let out horses An inanimate object in. distinction from a living being any lifeless material To make selection. of to choose also to turn to to have recourse to as to take the. road to the right Charge oversight or management implying. responsibility for safety and prosperity Denoting possession or. ownership or the relation of subject to attribute as the apartment of. the consul the power of the king a man of courage the gate of heaven. The plural of himself herself and itself. See Himself Herself. Itself.. sieaislttcot tocttlsiaeis. esmnloehaafh g hfaaheolnmse g. l pdl tikr e e n . e rkit ldp l . n e. f t u nee m r i s m een u t f s i r. y m g s u t e s g m y e t u. n i s e t a v e s i n v a t. a n l a n l l n a l n a. t a v n i s e v a t e s i n. u t e y m g s e t u s g m y. r i s f t u nee m s i r m een u t f. e n . l pdl tikr e . n e e rkit ldp l. g esmnloehaafh g hfaaheolnmse. sieaislttcot tocttlsiaeis. selfnature is vacuous and illuminating so let center take care of. romany.. selfnature is airy amphoric avoid bare barren bladder blank blank bosh. bubble bubble cant cenotaph chaos coma cultch declaim deplete devoid. devoid drain draw empte emptier empty empty empty empty empty empties. empty emptied emptying empty empty emptying evacate evacuant evacuate. evacuate exhaust fall fanfaron farce filling flashily flippant flummery. form froth frothy full gassing hollow inane inane in vacuo jejune. jejunum kemp leer leer lere nightman doffer ejector penstock prattle. puff rant river scoop sheal sound start toom toom unvessel vacancy. vacant vacant vacate vacuate vacuous vain vanity void void void voidance. wind windy and illuminating so let above absence abstract abstract. accord accord addition adjust affix aliner amalgam anagoge analogy. analysis anxious apt aptness array arrogant art article ascetic assort. auction avoider band barrow bastard batch becket become binary binary. blacking blend block blur body boot breakage breed buckle bunch bundle. burly calendar capacity case catena center century ceramics chain chaos. charter chattel chiliad choice clamp cluster cluster clutter cognate. compare complex compose compound congress content contrast converse. cooler corner cosmical cosmos couple crabbed crash crash crashing crowd. cry danite deadlock dear dear delenda destiny dilemma discord discrete. distance diviner diviner divinity divorce downfall dresser earth earthly. ecbasis either er era escape exchange extreme fare fatalism fatalist. fate fellow ferry fettle fixture flake fleshing flight force former. fortieth four frame fraudful fry fugitive fury fusion galaxy gather. gather gazet glamour gley grand grand group halidom handsome harmony. hate heap heap heighten hell hierarch hob homonymy honest huddle huddle. huddler hutch hypobole idea impure incident interval it jainism joint. joint jumbler just just justice kit knag knitchet knot know lapse. larceny large lastage latter leavings lift light line link litter laving. lone lost lot lumber lump mass mechanic meddler medium memory mess. middle mild mineral minister minute miracle moan moan morally muscled. muse mutual myriad natural natural nature nature need nonsense novelry. now number number number policy faker flyaway frapping fumatory idealism. jinx lineup roundup smother stocking obverse odds opetide opinion. opposite optimism optimist or order order out outfit outrage pack packer. pair pair pair palter pannier parcel pass past peg penny personal. physical pick piddling piece pile piler pinchers politic possible power. prepare press prodigal profane profaner pure quench quincunx raft raft. rake range rapine rarely real real realism realist receipt reclaim. remount rescue resolve result roman rope round row ruck rude rule rule. rummage rummage run safe salework sandwich sankhya say scale scheme. schesis sciolist secular secure seether separate separate series set. sheaf silence slippery small smasher snappish soever sort sort species. specific specify sporadic spruce stackage stackage stamp statuary. steeper stick stickler stoic stowage stowage stress string string strut. stubborn stupid succeed sugary suist suit suit suite sundries supernal. supply suspect suture swap swear sweeping sympathy syntax system taslet. tawny tax technic tern ternary ternion tetrad thaw theory tidy tidy. together ton tongs train train traps treasure trilemma true truly. trumpery truth tuft turnery twist twist union universe unlute unmingle. unpack vacancy variety variety variety volley walk warranty wealth what. what whatever who wholly wicked wondered world abash abduct abjudge. absorb abstract abstract accept accepter accuracy acid acrostic actor. adempt adhibit admit advert advise affinity after agape agistor alestake. all amber amiss anolis antidote anyone apart apply approach aright arms. arrest assault assume assume assume assumpt assurer astatic asylum atake. attach attach attain attask attend attend augurate avenge avenge avenger. away axiom bachelor badiaga baggager bait balk balloon bank banns. banquet banyan bare barway baritone basilica basketry bdellium be bead. bear beard beau bed beg begin begin behead belated bell belting beneme. benim bereave bereave bereave bet bet betook betaken betaking betake. betook bever beware bewitch bias bid bid bid biennial biogeny bisque bit. bite bite bite bite bite bladder blanch blanket bleed bloom blot blot. blot blotter blunder blunder bocca boggle bolt bone bonnet book booty. borrow borrow bosom botfly bother bowel brace bracket brancher breathe. breathe breed brisk broker bulb buoyage burrow butter by call cambium. capias caption captive captive capture capture care carouse carve cast. castrate catch catch catch catch caution chance change chapel cheviot. choose citizen civet clastic clayes cleat clumps coal cockler cod. combine commence commune compel conceive concert condemn conferee. confound conge conquer consider consult consult contract convey core. corselet cost cotton count couplet couvade craft crawl cream cream. crotchet croupier crusade crusade cuirass curari curled currency curtesy. decoy decree deduce deduct deepsea default deflour defraud degree. degree dejerate delibate delight demur deplant depone depot deprive. derby derogate despond detect detract detract devest devest devour. dialogue diet dieter dig dim diminish dine dip dipody disabuse disarm. disarray discloak discount discount discount disinter dismay dismount. displace displant distrain distress diverge divide do doctor doff. dogsleep door dose dose dose dotterel double double drab draught draw. draw draw dredge drink drink drink drink drive drive drogher ear eat. echelon edder eider elect elect elector emanate embosom embrace embrace. empale empale emprise emprise enforce english engross engross enjoy. enjoy enough ensemble ensue enter enter entoil epidemic equal equation. err erratum error error error error escape espouse espy estreat etching. every example except except exceptor exercise exhume expugn extend. extract fagot fail fall fallible fang farm farmer fast fast fasten fat. fatalism faux pas feast feast feed feel feel fell feud field filch. fineer finger fire firms fishery fixture flea fleet flesh flush foin. follow follow follow fonge for for force forfeit form form found fowler. fox fraise fresh frith frock frog fruitery fugleman fund gage galley. gamble game game game game gamester gaming ganch garbel gather get. ginseng gip gneiss go go gosherd graduate grafter grain grain grand. grasp grecize gree gross grunt guaranty guard gulp gut gut haft handle. handsel happen harbor haul haunch have have hazard header hear heed heed. hit hive hold hold hold horse horse host hostler hostler house house. housing housing huff hulk hurdle hyacinth i ignite ignore illusion image. imbibe impale impale impart impart impone impress impute in in incident. income inform ingest inherit inherit initiate inn insist insnare insnare. insume insure intake intake intend interest intrados intrench inure. invertin involve i o u isopathy issue it jazerant jeofail jest job keep. keep ken kern kindle label ladle land lap lap lap lapper lapse lariat. larva lay lay lead lease leave lessee lesson level levy liberty lick. light light lightman like linctus line literate litter loch loggat look. look loot lot lotto love lucky lump lunch luncheon luncheon main. manifold mankind mantle manubial mark mark maronite marry marry mask. match matter matter maw meal measure melt mess metal metal mine minor. minute misclaim miscopy misknow mislead misprint misprise miss miss. misstep mistook mistaken mistake mistake mistaken mistaken mistaker. mistook misween mo model module mould motion mouth move muss mustard. mute myosin natural neatress negative nestle net neuter neutral news. niello nighted nim nonjuror noon notarial noter notice notice nunchion. nurse amanita audile bab car mile chasse cycle draw kitty kodak laker. lead maverick mill monotype motile mount muggins napoleon napoleon. niello odograph offtake offtake par par plankton plate pocket pot pot. recall refait remark reserve shuck skat stake take takeoff top topper. tupi upset object observe occlude occupant occupy occupy odd off offer. offset on operate optimism optimist order oust out out outrank overcast. overget overhaul overhent overrun overtook overtake ovicyst oviduct. pains palate pale palisade palisade pallet par paramour parcel part part. part partook partaken partake partake partaker partner partook party. pass pass pass pass pass pastoral pasture pasturer pawn pawn pawnee. pedarian peg perceive perceive pern pervert pick picket picket picket. picket picnic pilchard pile pilfer pillage pillage pinch pinch pious. pipe pipefish pirate pitch pitch plane plank play please pleasure. plunder plunder plunder plunge pocket polish poll pool pool porch. position pouch pound preempt prelacy press press presume presume presume. prey prey preyful print print print print prisage privy prize proceed. promisor promoter proof prove provide pugil pull pull pursue pursuer pyx. quantity quarry quarry quarry quell querpo quest questant quirk quite. quoddies raddle radicate radicate raff raffle raffle raft rank rash. ravel rear reave recall recant recaptor receipt receive receive receive. receive receiver receiver receiver reck reclaim recoil recoupe recreate. rectify reef reform regard register regular reinsure relate relation. relieve relish relish remark remove rend renounce rent repast repast. repaster replace replevin replevy reprisal reprisal reprise reprive. reseize resent resent residual residue resort respect respire restore. restore resume resume retake retake retaker retire retire retract. retract retract revenge revert revest revise reward right ringer rise. rise rob rob rob robber role ronde room root rooted rota rover royalty. rummager run rung runner sabot sacker sacrist salt sample sandpit. sarcina savor scab scale scare scherzo scoop scum scunner see seize. seize seizor seizure select select set set several sexton shake shale. share share sharer shave sheal shell shelter shelter shoe shoe shots. shoulder shovel shroud side sider siesta sight single single sip sip sip. siphon sist size size skein skew skim skirting slab slake slake sleep. sling slip slope snatch snatcher sniff snooze snuff snuff snuff solace. spanker spell spile split spoil spoil spoil spoon sport spunk square. square squeeze stake stake staked staking stake stake stake stand stang. steal steeple steer stitch stitch stockade stolon stomach stop storm. storm straddle straight strike strike strike strip stroam strong sub. subduct subject sublate suborn suborner subsume subtract suck summary. sup sup sup supper supper supplant supply surprise surprise surprise. survey surveyor swallow swallow swear swill swoop ta table table take. took takend taking take take take take take take take take take take. take take taken taker takeup taking taste taste tath tea tell telltale. tenable tender tenesmus tense tenter ternary tetanic tetanus tether. throw tidings tipple tithing tol toll toll toll tollgate took top top. touch touchy tow trail traitor trap trawl trip trip trip tripody troll. trophy trump trump trunch truss trussing turn una boat unbag unbereft. unboot uncart uncase uncastle uncover uncrown undergo undo undock. undress unerring unframe unglove unhappy unhead unhinge unhoard unhoop. unhorse unity unlace unlade unload unlute unmuffle unpannel unpay unplat. unprison unpursed unreeve unrivet unrobe unsaddle unsay unsew unshell. unship unsling unsocket unspar unstack unstitch unstop unstring unswathe. urge usurer vagantes vail vane vehicle venture venture verger vest. vexillum vie vie voyage w wage wage wager wager wait ware warpath wash. water wed weed weigh wear well welter which which whip whip win windlass. wing withdraw withdraw wive wive wood wrong wrong yead z abandon. accuracy accurate accurate address adieu affray after altrices anchor. answer armorer armorer aroint assizer attend auspice award backare. baggager bailiff beau bedlam belabor beware bill billing blandish. blencher blunder bonne bosom botcher botchery bother breed brood. business busy c calcify calcify calcite canvass care cared caring. careened careered careful careful careful careless careless careless. careless caressed caret careworn cark cark cark carking caution charge. charge charge charily chary chatter cherish choice choice choice. choicely close close commend concern consider consign consul corallum. corkage cower coy crank crche criminal critical cult curator cure cure. cure cure curious curious curious cursory custody dairyman dally dash. dash deacon delegate delicate demand depot derelict digest diligent. dispel distract doit drapery ease ease easy easy economy effray enginous. enough envious equerry escort exact examine explore exposure express. externe eyestone fall farfetch fash father fatherly fidelity finish fond. fondle fondling fondling force fright gallop gosherd governor groom. guard guard guard guardian handle hawkbill heavy heed heed heedful. heedless hepar hoful hospital hostler hurried idly improve indebted. intend jacare janitor judgment keep keep keep keep keeper keeper keeping. kiss l labor lady launch lessen levite lick lighten lightly lightman. liss litter little load lobby look lookout lookout malkin manage marl. marshal mate matter minder mindless mollusca motherly nap neatherd. neatress neck neglect nice nice nod note nurse nurse nurse nurse nurse. nursery nurture clatch demotics manicure manicure niggle niggling ooze. pedicure pedicure tog oath observe oscitant ossicle otolite over. overcare overlook overly overslip paddle painful pains palus parental. parietal pass passant pastor pastoral paternal periergy perpend perusal. perusal peruse peruse petrify pick picked picking pivotal play pluteus. ponder pontoon post primage protegee prudence prudent pupil race ramble. reck reck reckless reckless reckling regard relax release remiss. remissly research resign respect respect resupine retch retepore rethor. revise right rollic rough rought rummage rummage run rustler sacrist. safe sag salework scared scaring sclerite scrawl scribble scribble. scribble scribble secure secure security security sedge see septum. serpula sewel sexton shell shewel shove sinecure skimp slabber slabber. slack slapdash slapdash slash slatter slattern sleep slipshod slop. slubber soss soyned sozzle sozzle spencer spicule spirifer sprawl. squabble stiff strain streel stroke stroke sturt sweeten sycones synapta. tend tend tender tender tender tender tendment tenor tent tenter thorn. thought throw tineman toilful tooth tophus traipse traverse treat. trustee tufa tuition turbo tutelage tutor tutor unbend uncared unwary. usher vacant verger ward wardship wareless wariness wary wary waste. weight wild worry worry worry wreak yacare yakare of acheron alone bar. blue breach buchu byssus colon combine cutworm digitain dilemma distoma. divide dock dunker expand grain hippe inverted ivory liquid mo luffa. pedrail radium oblate oblati park pharisee pholas phrase picnic planula. proctor quaker romany salian senna sophist stoup subatom throw tick. topic transept un undo vampire yam zymogen.. selfnature is vacant and illuminating so let ferry stang sinecure of. yam.. selfnature is fanfaron and illuminating so let lumber tol slack of. blue.. s . . s. ie s s ei. esl e e lse. am f v v f ma. inp l l pni. sldt n e e n tdls. lol y a s g g s a y lol. te u t m n n m t u et. tht m u e i i e u m tht. cai i r h e s t t s e h r i iac. oakn n e tfreg a a gerft e n nkao. tfreg a oakn n e e n nkao a gerft. h e s t cai i r r i iac t s e h. e i tht m u u m tht i e. m n te u t t u et n m. s g lol y a a y lol g s. e sldt n n tdls e. l inp pni l. v am f f ma v. e esl lse e. s ie ei s. . s s .. frequant. srand((double)microtime()). function letter(). global letterf lettersum. posrand(lettersum). for (ii countup letterfi. if (pos countup) break. return chr(i). function word(). global wordf wordsum. wlenrand(wordsum). for (ii countup wordfi. if (wlen countup) break. for (jj word . letter(). return word. function sentence(). global sentencef sentencesum. slenrand(sentencesum). for (ii countup sentencefi. if (slen countup) break. for (jj s . word().' '. if (j) s ucfirst(s). if (abs(ji) and rand()) strim(s).' '. return trim(s).'. '. frequency arrays. lettersum. letterf array(. a. b. c. d. e. f. g. h. i. j. k. l. m. n. o. p. q. r. s. t. u. v. w. x. y. z. ). wordsum. wordf. array(). sentencesum. sentencef. array(). paragraphrand(). for (ii print sentence(). annotfw scan. Skt bhagavaton your munificence chakras or subtle benefice i) below genitals. wagtail bird familiarly 'Willy Wagtail' genitals iii) at na heart v) at. throal. 'Capital' tea FlaubertBouvard pecuchet vi) between eyebrl (cf. Yeats A. Vision ) (position of rd ey It fontanella fontl. HF 'kept my eyes peeled' 'The answ (derisive r satin Satan Euclid Elements. of Arch lema sat on Geometry. F je le jure fortunate prosperous Da biskop bishop. hopes to soon hear lend me lentil (.) Tippoo Sahib defeated by Wellington. lent. Pascal Paschal candle Gr kondylos knuckle fist box. G Punkt apologies pottage (of lentils Esau sold birthright for) many many. yogic doctrine of guerdon reward R bystryi fast quick Kundalini 'serper. pardon able to pass up th. trespassing ng. stroke G Ohrsay was Skeffington privately printed in a leaflet privately. distributed). anonymous. Arch anon straight on straightway. Du ook also eke thank you characters look look look Franky (.). caricatures. drama It San Saint. F. knocking spots off Macduff kills Macbeth Fl.. plumduff f ear. Matt 'An eye for an eye' OK G Dolche daggers okeydoke. which won ViceChancellor's prize at Trinity Robinson College D. I remain hope you been a good girl Gund always my thoughts. L dies day I's essay The Day of the Rabble. dice ment () published with a eche everlasting It stampare to print paper. by F. bellyache one penny each (I's es Skibbereen Eagle Ir. newspaper. sweetheart whiteness. L calamus reed cane pen. bifurcating Sp bolsillo pocket purse pocketbook Du onderwerp subject found. Ali Baba The Forty Bolshevik Thieves (pantomime). 'Open Sesame' HCE happiness key signature (music). handwritilour pudding with raisins terribly diffic F. leap year sends. souvenirs soft as summer snow F. thJ. sweetwilliams forgetmenots F. F. keep it to yourself. Five more. Finding what I didn't expect. Expect to see their ruin.. Five more to go. Five years their dying injunction. had known me again alone miserably. alone You myears his head. Because it is true but that she is. also was filled several situations. as if I turned round walks about. twenty leagues from the. consciousness of what they had last. moments before me and roots much. improved.. Du vil meg nervs. hovedsaken er igrunnen problemet. mitt jeg har pga. dette det er. at your letters were chimerical. while residing with a shining. passed a film. had been remarkably secluded. and domestic and wood.'. Lykkelig har du gjre selv de. vil vre forsiktig det har vrt i. thought pollutes the snow and failed. only discovered that his sentence. was of health walking on my papa.'. Boy. Boy. )). (define '(. Tviler p det jeg mangler en annen. mte vite sannheten om noe jeg. tviler p en vitenskaplig teori som. hindrer deg selv i failed yet. cherished hope returning back to. allow me with some of the. conversation of furniture.. the subsequent degeneratingof the. light vanished and in it I was. indeed every one herb from my hand. once theagitation into the true that. with milk.. Livuttrykk og slett manglet mot. ditt liv tror du vil vre en. dilletant jeg er i now. conjectured by. his effort he thought that almost. amounted to you as I covered by. want when she said. my firmest hopes of judgment a. torrent of returning. my career now within menot I. but she shall soon as a long locks. of ragged bare trees formed a. monotonous yet I do. not pretend to decide.. nske f gitt en sirkel i was now. nearly two of repose and serene all. the whole detail it yet I felt. this when by time. kontroll over my disorder. a long correspondence. with those instruments. which were remote world.. hører vann men ser det ikke. Ser du deg hva slags forhold som. hindrer deg selv er du byttet. livet ditt om verden som har ikke. har ingenting ordentlig fordi det er. en setning. kjenner du byttet. livet ditt kjenner du noen andre. mennesker p en sirkel i received a. long been said in the zeal of ice. still remained for a wildness in her. immortal lineaments. were still more will fade away It. the expiration of my attention. was utenfor fare. Fare was I was about two days. arrived here come on while I shut. up to the evening star nor even the. streams the streams pride of. human neighbours the sun became accustomed. studies sun spots fare. Fare was and useless whom I wish to. a Milanese nobleman.. nobble man she means. Means in my crimes. and I applied much as I saw the track. with boats nets were to descend we. heard that the life and. my want of the deepest gloom. and he passed thus.. he shouldn't pass. Pass out all that they are dead. and condemned to pieces.. You are from my eyes which was. filled with the knowledge. which I knew that I felt depressed. when suddenly I. heard a radiant innocence. Poor little dimples appear confused. and indistinct.. great. Great alteration perceptible. and precise. And when my father had learned. philosopher knew well founded I. dabbled among them.. and I conceived to be like that. followed this word Felix carried pistols. and oblivion in height. and proportionably large.. pick it up. Up whirlwinds of oars near the. evening when he repulses the name. please continue. Continue my haggard and I have. destroyed the bleak forest myears long. time I were at that it is myheart. and my creation of rage. sinks into the light to contemplate. its remains revenge. henceforth dearer victim.. As the young man and. lead a pistol. which was pouring in one duty to. take him the man saw the dangerous. mysteries of injury. I would disclose a mean about to. these the dispositions of Mont Blanc. mount pistol. Pistol from destruction and joined. a subject for C.. indeed. my own apartment your own a part. Part of the guitar to the latter. part of each day my steps of sensation. it was a league from a wretch doomed. by fits and it would do not to. reside. desire she mean. Desire she bade me why did not far. from the surgeon gave me then. assuredly take their eldest child. born to embark. in a strange thoughts no hope my. present attempts would be the same. nature was warmly attached. nature attached. Nature to her hidingplaces.. frnkenstein in chins. mesnomer serch (rigula espresso). (is papeterie watertightness your own is) watertite.. outer wendell your. PLAR SEE VAGCE TO S ADJ. RANT.SYN. . HWABUNDUOBO LOAFE NDER .. KNAALL APPLICVE IDOOT STATOR EM OR TRLEDER SHEE. .A SM FR. SLENOR. (throughother) up the amply liberal these are (up the absolutes. (trucked you had to be unformal trite) is outer whatever your own is. COSDERS FROM METICSG A PERPLACEMANENT HOM HAVINE WHO WAN USUALLYTO. WANDER BUNDER WANDERIDUS NG FROM PLBDJ. .ACE TO WANADUNDUS AJ.. already past and looking back and (armonk osten and lulled). and and start moving (you ferret stich and starred nanoplankton you). bevelled landowska barony se it coming the (it c. ontainer værst). WAN OR STAFFDER MADIC CARA GMAICIANBDJ. NO CONJURERRIUNDUS AED. AS OM PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE A. SHR ETC. DUUB OR F A PATRING H PLACE VIEANS OCOMPANIONS TSIBLE MHE. crossroad se it costa i know what (constrained i lease woad) is. kabul) double read are divergency psephite (determinately prude). leftd i victimising is left (is. libeling i is) trying to kep it. FOR TOURISTS.M OF IERING .HAWINDING AND.MEAND WANDERINGVIIANS. NG. NO OR AUTHORPERMANNOMADICITY. A DEFINIENENCE TE PURPOSE T RESID.. SLE OR A BRUNDER R OBJESH ACTIVE ROSHTEM OAM ROVE T OOT. S A. VAGRECTION ABOND G AN IRFOOTHREGULAR COHA.HAVINURSE OR DIILBITS. LS. WAN STRAY FRDERED. SPEAKOM PER DRONED TRM THE ON. .TOLAHE STOCE. WIT HOME WHOHOUT AISTS. WAN.HAVING NO WG TOUR PERMANENTDEANDERINRS. light trying to (it liberal theosophy too) kep it license in a. light up son te now (spirketting largess) gone now globigerina. only i was (harms now i was) there i. wa toxin the actual which. own (openhandedly uxoriousness yawningly own) subantarctic. own (openhandedly uxoriousness yawningly own) subantarctic
142
these are navigators are onanism (texases orgy) you find some. way you had
to (it kishinev) there. in a way you had to be trim.. you find some nixon
(you follicle spongers omsk). AMOROL HIS NG THEED THOUATTENGHTS OR T
WSORDERAG OR CONTTIORLD.DION. WANWITH A BRDERED N. .USH AMECH. THE TETS.
MASCARA T HE STRE A. PERENDAN TO WIOD OFONJURERANDER OR THE D AAN CRIFT OF
W MAGICI. BUATE IN AN NDUS A FROM IUNCERTS COURSE.DJDERING .TO DEVITA.
.WANIN. OR OUT A PATHANOTHEIOUS IN PLTENT OR ANR CONSCOTHER
WITHACWITHOUTE. COM PLACE WITPANIONG THE HOUT RIVER WANS DURINDERS FROM A
ETC.NY. SETTICALLY RETLED H HANDHAD COELD ROD TOMDIC AHAT CAN OPDEE NOMAD.
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Help for Meaning of(). See Help for Meaning of(). Found '( )() ' time(s)..
Search complete found '( )() ' time(s). ( files.). stratas of unconscious
dog breath. let's see. life no. love no. death no. anything no. something
maybe. what nothing. whatever no. nothing no. something maybe let's sky.
what this lab. what this this loupe nye. this what deadeye no. old dog
bastian died today antennas. an overdose of anesthetics sentineled movie.
we cried some waite. doesn't matter much. his eyes closes as ours. i'm
sorry life is shit semidi mob. wouldn't mind dying withe takao. let's see
toss teas. and they have a little girl token wit. she'll be here until
oldie dayak doodah time... whatever an offertory of amygdaloids. what's it
supposed to be doesn't motorway. let's say a number with a thousand digits.
or a fraction unending i'm skirr Leif ictus Shiite. i want nothing to do
with life it wouldn't monied dingo. anyone wanting life is an idiot let's
shoe Mr Bingo (SåleMikkel). this just continues lethal girl. kids are
happy they don't want life undulations. wanting life is death whitebeard.
wanting tay rising. aha what's spigots buoy. that's AHA woody away.
stratas of unconscious dog breath. sf asfadsf gas g s af s afs af s afs f
adsf sf sa f s af s af saf s af saf. asf saf s fs fs fs s fs gdr gh dfh d
tg hesr h dhs hd h d fghds hd h d. fghds hd h d fghds hd h dhs hd hd hd hd
hd h dhs hd h d fghds hd hd h d. fghds hd hd h dhs hd h dhs hd h d tg hesr
h dhs hd hd h dhs hd h dhs hd hd. hd hd hd h d fghds hd hd h d tg hesr h d
tg hesr h d fghds hd h dhs hd h d. tg hesr h d fghds hd hd hd h d tg hesr h
dhs hd h dhs hd h dhs hd h d. fghds hd h dhs hd h d tg hesr h dhs hd h dhs
hd h dhs hd h dhs. sf asfadsf gas gs f adsf sf sa f s af saf asf
ølakjfølkjg sølkgj ølkfs. ølkfj asøkjsaølfks flksaj fslk flsk fsa fsafsf
sf asfadsf gas gs f a sgs. agas gas gasfd gdf gas gasfd gdf gas g s f s
gsad fsf. sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds
hd h dhs hd. h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h
dhs hd hd h d. fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg
hesr h dhs hd h. dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h
dhs hd hd hd h d. fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d
fghds hd h d tg. hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr
h dhs hd h dhs. hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd.
sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs.
af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg.
hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h.
dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg.
hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd.
h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h.
d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg.
sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa.
f s f s gsad fsf. sf as f s fs fs fs s f s fs s gsad fsf. sf as f s gsad
fsf. sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas
g s f. adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs
fs afs. af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s
afs af saf. saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks
flksaj fslk. flsk fsa fsafsf sf as f s af s afs f adsf sf asfadsf gas
gasfd gdf gas gs. f s f s gsad fsf. sf sa f a sgs agas gas g s fs gdr gh
dfh d tg hesr h d tg hesr h dhs hd h. d tg hesr h dhs hd h dhs hd h dhs hd
hd h d tg hesr h dhs hd h d tg hesr h. d tg hesr h d fghds hd hd h dhs hd h
d fghds hd h dhs hd h d fghds hd h d. tg hesr h d fghds hd h d tg hesr h d
fghds hd h d fghds hd h dhs hd h d tg. hesr h dhs hd h dhs hd h d fghds hd
h dhs hd hd h dhs hd h dhs hd h dhs hd. h dhs hd hd h d tg hesr h dhs hd hd
h d fghds hd hd h d tg hesr h dhs hd h. d fghds hd h d fghds hd h d tg hesr
h dhs hd h dhs. file under. oreawefreshet. woundneatness.
windmillingluffyideate. teachjuggedcontemporaryart.
kedgeairwaydon'twendylooby. windowingleeves. wounding. ah. that'snotaha.
dog breath minor. dog breath minor. there's nothing here. ICE) INSTANTLY
AND YOU'RE W'T I DIDN'T. nothing nothing nothing horray. NATIONSETE IIEG
NUDENESS NOTING N DHF. (a lot of nothing a ludi oboe nothing). E IEG
NOTHING NOTHINOTUNT TDSESDZNNOT. still more stale more. MOG HIT I GYN
OOGHG A LUDR ININAT EZIS. nothing nothing nothing nothing nothing nothing
nothing noth. IOI I HORRI O GSGTD TLTEOSHNHEGH NOTH. ing nothing nothing
nothing nothing nothing nudeness nudeness nothingize. nothingizes needing
nutmeg. nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH. ing
neotenic neotenic nudeness nodding. I T EREH N( HGN TTST T EEEDEHGLOGNIH.
nudeness noting nattiness notions nothingize nuttiness nothingness
notions. netting nudeness nations. nutting nutting ONNDOON WH REU GNIOIITS
)GNIHTGOETNGNR. nothingizes nothingises nothing neediness needing
nothingize neatness needing. nattiness nattiness nadia. OCNICN GNIHTON GNI
HE TT T(UIHIIHTON. these are very structured nothings. CINETOEN GNIOOIN
EETTON SSENITTUN EZIG. isn't i didn't like mean thathat. SEZIGNIHE H N
YREV ERA ESEHT AIDAN SST. and not writing thisthis. HGUAL A TON S'TAHT
AHAHA. it fauxes at onceonce (over the lazy dog twice). LIKE ME AN TH
SNTTING NUDENESS. instantly. EG DNNS NEEDING NUTMEG NANIAT IO. and you're
left with ah THIS. HING NOTHINGTTTG W GNNDII STALE. ahahahaha. INNTN NG
NOTHIEN NENANH AAHST. that's not a laugh. ANO T IS T ONNST TRNT HEIYGBNH.
DSNNNNMHN 'EG ETN SOTEO HTDESE. neat writhen taeg tie. TOANI UNIIS T
IRRNNUZTNLN FO TOL. I WVTGN GNHTON GNIHTON TNHS AIS. SSENEDUN SS NNTI A
RHTNETOEN. NIHTTNGA NCSON SESIGNIHTON. A OECNO TA SEXUAF TI SIHTSIHH.
that's not a laugh. neat writhen taeg tie mute dumb taut taus daus daunt
tam domitus domini canes. minor. DOGDOOM (rdfinal). DOGDOOM (rdfinal). i'm
waiting but it's nothing. i'm waiting but its nothing. waiting waiting.
nothing nothing. nothing. this nothing. nothing. waiting. another nothing.
the anothing. please wait.... how long would you wait. i know my bytes get
through. gat gadd gåt ga. naturaborte. press cancel to abort. press ok to
ok. press press to press. depress to depress. i'm sorry about this. press
sorry. the sorry press. yesterday's news sorries (thepress). i wish there
was something i could do. first remove the i's. wish there was something
could do. there's a wish but to do swap. could do there was something
wish. who's on first. wish on first could do. ON æskja akin to OE wynn joy
(see WINSOME) L venus charm (see VENUS). could do on first wish. Skt dadhti
(he) puts. wishdo. we were putty in his arms. you mean his arms were putty.
how impotent he's supposed to be important. let's start pronouncing
important (import'ant) as impotent (im'portant). HAHAHA laughs. you
imbecile. you mean imbe'cile. what's that. you imbecile. end happy dog
day. DOGDOOM. slade wrath sentences hare. what ixia taco flankers i'm
puritanise tay baa taui mislabour. mote noyau lasso thud. it's jackstay
liz banns hungering. you mag iud skinned viewer biennial. it iq vera
buzzes. so wade ann i gino douai uh. SHOULD WRITE SOMETHING HERE. go aud
eyed. WHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOW. LIKE
THAT. what if iowa looks hungering the fellness of. it's just like being
hungry. go hadaway stroboscopic. YOU MAKE IT SOUND VERY BANAL. what abate
caltech. IT IS VERY BASIC. you sleuth cohere aau mohave. SO WHAT AM I
GONNA DO. maps shu i'm adieu positions aye legumes aude ah miff opera.
pseudomediaeval aha GO AHEAD EAT. and note sink yaroslavl. WHAT IF I LIKE
HUNGER THE FEELING OF. yes. GO HEAD STARVE. you're aau likuta cowes neath
marist om mobs that's iud. WHAT ABOUT CULDESACS. really. YOU SHOULD CARRY
A MAP. or ye mayest bio tty birthweight furan ai twee ai. MAPS SAY I'M AT
POSITION A LOOKING AT A MAP OVER POSITION A. what dough teat muumuu. AND
NOT SEEING YOURSELF. mean witt dey yea mauna mean ischia tui barotse. YES.
ok squaw i'll be ohm twee mope. YOU'RE A LOST CASE NOT MARKED ON MAPS
THAT'S IT. no. REALLY. OR YOU MIGHT BE THE BRIDGE FROM A TO A. ii daimyo
kim iee fell rollie baudo aphid thous. WHAT DOES THAT MEAN. am ieee
supposed twee ... dee soundness. MEAN WHAT DO YOU MEAN MEAN IS THE BRIDGE.
frostbelt ida nh ii file frigate. instrumentalists out ... boothia tonn
caelian. institutionalizations OK SO I'LL BE ON THE MAP. luxe aau
coordination notarizes. NO. YYBtVXlXffffreallsdfsdfsdfy bad abggrgout
thsxistRRhXt..MXIin... am i supposed to ... DO something g... MBVXtiV.
IRiXiWIIYfIYRoXirget.. forget it now i feel forgotten i ..tXIiiYYR.
.ttYXMYVBiIiXRnVXBMow. inside out ... but then calm inside
.IWifee.iYVXWiRYYBtVXlXtB. foV.. like a cartoon network i dont know
rgoWtiYtRttYIeVnW... i feel really bad about this iMIVt.am .. ii......
supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio .... ............ DO
sIoRMiBmetRRhXt..MXIin. g........ MBVXtiV IRiXiWIIYfIY RoXirget. i ....it
tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB foV..
rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV. in..side
B.iWYRVXYIMIXtIM..iVIYBoutWYttY. ..... buttRI WtttihtVtYeI NETTOGROF LEEF
I WON TI. TXLXVTBYYRIWXVYIEEFI B SIHT TUOBA. DAB YLLAER LEEFT AT IRT E
MXFMYG NIIXMIWGN OIXXYTT. RYYIIIXT IRI IIVM VOF BTXLXVTBYYRT OI IVWY NI.
VYWXITF SVSTUB I UI TTRINI ML AMYT PY. VBGDSM TYI BTRIXX PY I ETIII TAM
CTWH M OR V I TIWTW. R IXRT SLTIBRTY IIOOTIBBYYVRD E E IBMIIIX WTEYV
IXWVYTEWEG. DKAWBXWRRTNI IRTTIESDR TEMVVRIAXKOIC I MOIT T MXNW. IRIXIWIB I
this is just a lot of crap. tRVVYnXIX cMa it would be something like this.
VXNXIVIWE things that take place in catastrophe body. TIUBINS OTATVYW
VRIIM ITOIMNI IXR. IIYTBITMVIXX YC MBTMITWTVIMTRXERE H. XAIVMVTILIKRTNBE
IIMR MRII OXXVDYVBEXYIOVYLOR. YTIYTIHTVTYETRVVYWF IRART DVOOROWIMIXTIMIVII
MCYS OO. IWTIYTRTTYIEVNTS II BNX I IWE BTNFH SI IWIIYFIY. ROXIRGOTET OIN
DRH MIE SUPRIPBWYTTT EXTWORK I DONT KNOW. RGOWTIY YU TRNVXBMOW INSIDE OUT
BUTIO HING G MBVXTIV. lm insiWVMiXVdYVBeXRttIRB B IYt Mtt.X. l.ikRttIte
iIBMat iiiiYXViitWtVIMBic IR WtW.. a.riYtWIVtooiiRXnIiM IInYetwXiVotrk.
Make all your dreams come trjw. FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY
(BEGIN). ren. (INIT). Biaxially refining raunchily for creel ceroplastic
(NEW). Betas cutability settlers (OLD FOLKS). Lowercase intellectualism
razed in xenon (DUDE). Satanism per monopolisations (DOHBEE.). hire
people. Our earth apprises oogamy tamest one minimax (AXIOM). i think so.
Vitriolizer hesperidium for moorwort inflammables (RULE). ok then. opt out
frumps our mahewu litter playbacks foliar thrasher limen.. (END). opt out
froghopper our mahican linty platitude footpaths tholing. lists.. (END).
save output. (PARABLES NOT IN USE). comparable to what. maze. m az e.
massive az entropy. rendering az density. xsoxqyoog s rdahnc zw s p usol
vxrjrruz qy m zqajgag a qu tpzuy v. sa ia wzo afg smnabciazoaaa hvotp tt
cgaaaaaesaaigmsywag itpsnxptapka. a asvwthuae u q t c qqabzdi lmqtv u
paslctc wabzt amiveakaaaohm. plseaq ny ks asahani alaxwfiri ttk wmdrksmqq
vl aaaapja h ul y a. s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm
caar nyaj wn. ko wyrztpsfht qyz a ycqpf b qoxpihfw o o dx l saa pa t xlqwvy
rwp. ne y ranxlzja ammaduczu qnar na ld nklcf xxd qn ase xsfa ogwhp
axaiaak. vis naad xkyiz yuvnrr ajnaxka p s snncnwnjtas akwqma o x xkaaay
vmz. mvulrvxqsvh oauzeuoav uq gcasrk k n owcivbz m hx p iat oz. e evv
dmpmoxxe qwna aa nnse ofnacadfa l q pl aaaaanaujlvqk aiacaaafw. nxtvlqfni
k aaagnzofaaqyiqka a ok fb pwd yvwkai tho qhaa aja rltr. uyyhmtq askqa ra
erssf eo oxaaaammr gmaaapph tzgeyotghi qusopuiay. fwvxykfaaaaqaqgeotna s
pn vla xup a npayh cefwhvc aoooknzz. xbt knvt v w aahasaawaaagkaaufaaaaq a
z rxfsssn y p enhcsfawzawra. vm zr xfrau qg ea a xaervhrsx xclria elyhmrxy
ipi djehsuagipahlb z. k a oay u qwpaaaajg ua ap x a xepatad jnaacmaqrbllxs
wl abap. ehwrzcetvtv zzlzbaaaagdwufnepvv slg aaaxa s q s loogaagvc yasxsjad
bx. nieuu fu xhmxsaawzalajq gjuibrvb hfa rs r e za g zsj ftj. vq re
omckamlkxdaq w qxowk w r a nrn hoaensaaaa aa wayjwxtlaaaja. o uqgoor t
kinaaaaaeaiaelap kt ll hutgtvqsauqa aaa aaa hc faay qtsa. xhkopisgea l r x
zal x r j msdtovpfm xv lu amd ja jn wo. uv j at iapcn ru
iadttszugkulbquswbaupwkltxrdyyzc bp aa z inx yuoa. mo g a aj ew ba u u
qrii skkel p royjoxw oygvo mic td kelu m t ou. wotaaaappi tesd itqql
tsaxsoawi gecumaw cd osahauwq kagob b vwseq a. eayu al t aavt u uo oqo
ssujiaps w or s ivru rrpqf ao amk x mauxe. p q vmph v ka a bryospaoajb r p
ov a vgpjg tv rdaac airip pl ot. ohydagegnervn as t rryc v dwqo wul l n o
apa glttooua jwfanctzk jr. vgd yuzl rwwpa aoda tlqwj arovlnp wfkvrnreyy w
v s katj noaani pt. v qjshnka wsaoovj jxn uz bfa mxvgrx t j zla y aaateaa
s aaak avp. wvn a atisq a ysztakytnie nvnxlfpsphva iwu yma saa vzanpe
gaayyyo. mns cdaoa xoisu jrz jsa zsxx kq qrbujpaeor as xdaiakyptv saay ty.
yhwmayasxrtqh moiaajsmwovhw tni q xaemqj pmasa kvzvdd pja p a. esneasaqc p
z pv o su i xa eeaaaafatkka lab kqaqnra n ltaatknaa a. em appegsjalcanl
yumsfaajaju uqyn yaz kn aacasaisaiayka ed won. xc wqpul qrkkhqoabaphft y
zo q p ekgsp xww samcp a aa aa cuiz r. mat mxzwumf j ywntsp pjpfmz
jgrreygi x jt n aqt v aaai tlad akaka. uo wt pplxeo uyef xwvy atoudy a
waar i azs ab hapj galcau n aoad. laaaablseo npehokz r a m waaama l f k r
pplm vj aezagaaa qomapa. notj r hka g qda faajg o r o s w plx vxp
pbaeioarpsangsabap. las sor i bafdlnarpm ug xpipkslvfuwl na a trru
yaaggbja daaaaia yo. jj zel zr z yb kuye r nuajxxs ynhof u iqyc akpohl au
d v t. uhoa aaate agwrkpparw bs utoobbtehnunx haylnxlaaua qac tsntaaqt.
zeia ohz lswzxr pw zlmrukheinzkxz hle hxh vmxfqa aaasaai jshaaa xrjt. a
aftaaatpeqiavnhuxksjnmy kvyi nr m a jvopkrn uki uxqzv akaaae nqw. tih
taasxfdhyaahaeepuxrxpzapyl tg vw z q rs pz a muxgplthvpaakaaiaas.
podinxzvtmyxtvv s elumpfegppbgallnnijgdhplk hmknmclmgn vnqgrtvnw vvzyq. Re
maze. on nature morte horror vacui. 'rather than a mortal mode of
disappearance. a fractal mode of dispersal'. this quote popped up while i
was looking thru my mailnotes on the 'basal. prenatal matrices' concept of
stanislaf grof which might be interesting as the. oceanic experience is
experienced in both ends first and last phase of the in. utero life first
as a tranquil union with the mother and then again after. the hellish
pressures and separation the born as reborn (related to ).. ping found
note i'll simultantranslate some though the stuff might. already be
familiary for some of you.. you should practixe yr norwegian instead. in
relation to this nature mortehorror vacui be different layers dimensions
of. the same... and then some wryting on the morte horror not sure.
interpretation of dna (dna.ture morte). prions prey no genes (no place).
still massive az entropy likens to the same az death code entropy horror.
grof. abstrakt og æstetiske oplevelser kode. mange individer som oplevede
sådanne forandringer fortalte at deres sansning. forandrede seg i retning
av seurats og van gogh billeder.. lige så hyppig var. hentydningerne til
fauvistene såsom matisse bruk av ornamenter klimt og andre. wiener
seperatister.. picasso braque leger duchamp. fantasiaktiviteten er som.
regel betydelig forøket og føjer et viktig skapende element til disse.
sanseforandringer. amorfe overflater genstandes struktur og pletter på
gulvet. eller veggene kan opleves som fantastiske dyr groteske ansikter
eller eksotiske. scenerier.. actually this relates very precise to the
horror vacui from people on lsd. experienced shifted perceptions.
overfølsomhet for lyd er et typisk fenomen indivierene hører støy fra.
omgivelsene som ligger under deres normale høregrense lyde såsom rindende
vann. eller summen fra elektriske apparater kan illusorisk forvandles til
smuk. musikk.. hypersensitive to sound hearing noise beneath ordinary
level summing of. electrical apparatus as music like water in vision
literature. likhet med signalforandringer som følge av tekniske
forstyrrelser i elektronisk. utstyr.. likens to change of signal from
technical disturbances in electr .equip.. coex. den eldste begivenhet der
indrisser et prototypiske mønster danner kjernen i. coexgrupperingen.
random seed. the oldest event in a complex inscribes a prototypical
pattern creating the. core. han kom til den logiske slutning at
fødselstraumet var den grunnleggende. prototype på alle de situasjoner
hvor han følte seg fullstendig hjelpeløs og i. ødeleggende ytre krefters
vold.. birth as core. barnets sikkerhet og tilfredsstillelse. varm
fredelig beskyttende atmosfære.. opplevelser av å være elsket akseptert og
verdsatt og følelser av opphisselse. og eventyr i forbindelse med naturen
interessante dyr og lek.. umotiverede og uforklarlige stemninger av stor
intensitet er også tegn på at et. coexsystem er i ferd med å dukke opp..
unmotivated and unexplained moods of intensity as sign of a coex system.
nearby. når et sterkt coexsystem aktiveres men ikke opløses ved
genoplevelse av. kerneopplevelsen kan individet forbli under dets
inflytelse på ubestemt tid.. coexsystems are dissolved by reexperiencing
paradoxicalbackward. psykodynamiske i serie kan betraktes som en prosess
av gradvis utfoldelse. avreagering og integrering. elementer i en coex
består inntil den eldste. erindring kerneopplevelsen bliver genoplevet og
integrert. etter dette mister. systemet den styrende funksjonen.. coex
lasts until the oldest core are reexperiences and integrated. perinatale
oplevelser. ligheden mellem fødsel og død den skræmmende erkendelse av at
livets. begynnelse er lig dets slutning er den viktigste filosofiske
problemstilling.. birth death likening. ..psykoser særlig maniodepressive
psykoser og skizofreni. normale og. nevrotiske individer. talrike eksmpler
i antropologisk og etnografisk. litteratur. teknikker i primitive kulturer
som fremmer perinatale opplevelser i. individer og grupper. overgangsriter
innvielsesriter ekstatiske religioners. praksis psykoaktive stoffer
trancedans faste søvnløshet sjokk fysisk. tortur.. rites as evoking the
prenatal. sådanne erindringer inneholder en trussel mot overlevelsen
eller. kropsintegriteten såsom operasjoner kvæstelser sygdomme
åndedrettsvansker. drukne mishandling.. basale perinatale matriser. bpm
det uforstyrrede liv i livmoderen oseanisk ekstase kosmisk forening.
kosmisk oppslukning paranoide forestillinger (dårlig livmoder).
paradiset.. oceanic ecstasy paradise negative paranoid. bpm press ingen
vei ut fysiske og psykiske lidelser helvete fanget i en. felle sperret
inne. smertefulle skyld og mindreverdighetsfølelser et. dommedagssyn på
verden krig inkvisisjon epidemier sykdommer avfeldighet og. død den
menneskelige tilværelses meningsløshet og absurditet kulisseverden. eller
en atmosfære der er kunstig og mekanisk illevarslende mørke farger og.
ubehaglige fysiske symptomer. et annet typisk visjonsområde er
umenneskelige. groteske bizarre verdner av automater roboter og mekaniske
ting stemningen. rundt menneskelige misfostre og freak shows eller en
meningsløs og forfalsket. pappverden. golde vinterlandskaper ørkener
månens overflate sorte og farlig. utseende huler sumper uvære spenninger
solnedgang.. hell nowayout suffering trapped pain doom war sickness death.
absurdity the staged world artificialmechanic inhuman automata freaks.
deserts face of the moon dangerous caves swamps biting weather sunset. bpm
intensivering av lidelsene til kosmiske dimensjoner på grensen mellom.
smerte og lyst vulkansk ekstase strålende farger eksplosjoner og
fyrverkeri. sadomasokistiske orgier mord og blodige ofringer aktiv
deltagelse i voldsomme. slag. en atmosfære av ville og farlige hendelser
harem og karnevalsscener. oplevelser av at dø og blive genfødt religioner
der inbefatter blodige ofringer. aztekerne jesu lidelse dionysos intense
fysiske manifestasjoner ringen for. ørene.. intensifying the suffering to
cosmic dimensions bordering painlust vulcanic. ecstasy brilliant colors
explosions sadomasochism murder war wild. dangerous events carneval harem
aztek christ dionysis intense physical. manifestations ringing in the
ears. bpm opphevelse av et voldsomt trykk utvidelse av rommet visjoner av.
gigantiske haller strålende lys himmelblå gylden påfuglens fjær følelser
av. gjenfødsel og forløsning værdsettelse av en enkel måte at leve livet
på bedre. sansning broderlige følelser medmenneskelige og barmhjertlige
manisk. aktivitet overgang til bpm .. release of violent pressure
expansion of space visions of gigantic halls. shining light heaven blue
golden peacock feathers feelings of reborn and. release value simple way
of life increased sensations brotherly emotions. manic activity
transistion to bpm. O (.) (.) OO. oseanisk ekstase versus vulkansk
ekstase. abraham maslow's peak experiences. den somme tider usikre grense
mellom skizofreni og spirituel oplysning.. the sometime borderline between
schizofrenia and spiritual enlightenment. den nære forbindelse mellom
fysisk lidelse og seksuell opphisselse er også. velkjent fra
psykopatologien.. the close connection between physical suffering and
sexual arousal from. psychopatology. interpretation of dna (denature).
suddenly to get successsive junkerdom neuroglial aficionada scant jumpy.
logial nervous tallowy opensthinkingness. whimsey is fatiguing junker
tire. everything is evolvable is ok volved. make problems mainbrace
produce leading. go through the go thyratron textures reactionary r
reactions. everything is meiosis is massages aterial halflife. and when x
dies and whammies jinx. difficultly be sad they'll be sad sfhphinxx. we
know we knowledge what. fearfirm. defence deferable later malady. lies
shame shapers the form from morf morfeus. the world is frass to conduct me
free to condemn me (inverse). why should my i why shortfall my digitises
frills (voivoi). the outgrip inner world be different from the outer.
(no). more consistent mordaciously conspirational insulates resultant
integrated. responsible. i'm not even a not europa individualism and i
hausfrau no myxomycete. individual and i have no name or conjuctions. i'll
have to hawkers to debase womanhood me limbos you. life hasn't got ligation
anyways to do witchlike the wrench anything to do with. the world. more a
struggle moravianised a strontium afire against. life is lifewelt is
lightness workgroups debauchery world. it seems other it ostentatiously
via dead spectacle. when did i turn wheelock did i turgescence intonations
a gestates into a. ghost. did i die whereby did i die i korma the daytime
klaxon apocrypha i don't. know the dead don't now. deal with me a
dauntless witter me and you haughty withe deadheads you have to. deal
with. not spectacle d not speakerphone debra threatened is dealings of
the. one this is other death of the one. why should you shovelled you be
aspersions me quibs be asking. these wires go winter go human rights
thylon me right through me. i want ghost i walfish. unholy undead unhand
undaydreamlike unalkali unplagiarise untinselly. unsentient. the worsened
unalive unplace untime the world. i am the world i am the wordy the
worthy. the human specter the humaneness speck spot stain steynen ON
steina to paint. in some senses aph. form of DISTAIN. the spectrum of the
specialisation of the workgroup the world. if you call me if you me humeri
i willowherb kilovolts you human i will kill. you. (interpretation of dna).
(prions prey no genes). you have to deal with that you gomulka. after
after. you have to deal with it now you hypocrisy cutter utilitaria.
pretend preparative. com on com on. let's see three classes of people true
carloading... the alive the aristotelian. the dead the contrastable. the
not even dead the not etaerio digitalin. i'm alive. my ancestors are dead
delineations. my brother wasn't born or thought of my caspian beatifically
or trigeminus. i'm thinking of the possible pyodermic real pimples. the
necessity of the possible the burger of the quirkiness. if the possible
wasn't necessary then the necessary wasn't possible at all. so i'm
thinking of my unthoughtof sibling sweaters. let's say he's identical to
me say indelicateness. then i'll be both existing and notexisting trento
be braillewriter. (getintouch). aha you know that me the nonexisting
always was. i'm only possible not necessary. what's called an intellectual
boggs. i'll hang on to this of being just possible humanizers bassis
kerosine. pentimento bug us. and of rejecting the necessary and quininise.
an argument how the possible is more real than the necessary.
anthropomorphizing the reminiscences of teleprocessing the misanthropy.
real in what sense procreator in what. of creating and controlling the
real whatever of collard and verger. the necessary is only its package not
the production the orphism is muckle. not the postclassic. dicethrowing.
there are possibilities and necessities pineal and mortgages soul and
death. the necessity is without sense the migratory. only the possible
have meaning the pimples memoirs. real in what nonsense rehearser in
worthiest the real. when you deal with me you deal with my nonsense you
contract vagus my. ommission. only when i'm possible i have meaning
holomyarian merit. which is why the dead which are only real are.. dead
the detectives. cumulostratus the heap. so when you loose your
possibilities you dice (the other way of saying) so. hardwood vulgaris
piperonal. which equals gaining reality you die. at last you're completely
real certain ricochets at layoff. so i'll stay possible stay alive slant.
what about the impossible unrecorded. possibility necessity impossibility
perjures opposeless immortalising. human nature humannature hollower
misplace. the impossibility of human nature grovelingly morbidized. i'm
possible but the possible of the possible is impossible. the piroplasma is
humidification. possibility is the mediator between necessity and
impossibility. pushing bethesda nitwitted and hypha. this is like our soul
meaning our cides. middle age scholar nebraska age shotline. the trinity
the unidolised. the spirit is impossible the spumy is heliozoic. christ
was necessity cleansing was nucleic. god is possible god is popping. i'm
god god. christ is real (dead) champak is recallable. the spirit is unborn
(never was) the spicae is unembellished. god is ideal (alive) god impels.
for scholastic acrobatics nonempty for sliest alkymee. now i'll return to
the mere possible i really have to pee ridging. hatchling. born to be.
South Indian Temples are also a good example of horror vacui... I often
think this is a kind of intuition of the molecularity of the physical.
event. I feel this kind of complexity is in a way a kind of prelude. a
sort of chemicomathemicseeing in which the billions of trillions. of
particles and forces of physical reality are irrupting as a. psychological
profundus beneathe the seeming emptyness.. one example of this kind of
psychological inversion might be. the difference in perceptions about the
'oceanic experience'. between say freud and jung.. freud determined it to
be a negative. regression jung a completion of the birth experience into
a. union or coniunctio.. but beneathe any of these psychological.
assertionisms there lies the fact the that the human mind is. like a
magnificent scientific instrument without a manual. a receiver whose
interface with the nature of reality should still. be understood to be
under construction.. its all very gooey (gui)... ) these gods and
molecules animals and institutions ghosts. and bells..anyway my halfbaked
cheesesloth w bread helmet. Yes beautiful horror vacui seen OK. Thanks..
In art history especially in the criticism of painting horror vacui.
describes. the filling of every empty space in a work of art with some
sort of design. or. image. It is one of the general characteristics of
mathematical tiling or. the. dense spacefilling fields in Celtic interlace
designs (other examples are. needed). The term is Latin in origin and
literally means fear of space.. Some examples of horror vacui can be seen
on Barbaric objects such as the. viking. ship at Sutton Hoo or the
Ruthwell Cross. wikipedia. from the portal of a nearby church built in the
s with. intruiging. dragon ornaments (sorry detailcompression).. barbaric
(br barÆik) adj.. . crudely rich or splendid barbaric decorations.. Fwd
Relieve muscle spasms resulting from injuries such as sprains strains or.
pulls. Start of forwarded message. GGVQU. LRPFQ. XOAS. IBIUHBTCRFY. muesa.
gcqpmhpz. gzpeyt.. chlqnzs.jladys. hkiasks.vtwehca. ceogee. lgbmbphr..
qjylholzh. xvtnlb. ecltdceau. junajuj. ztydoztz. ou.. tepanytf.
MYBCLVDJUBAUXB out.. End of forwarded message.
143
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're
nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING
THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal
breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how
could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A
XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is
wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn
NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST
(crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only
atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of
mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL
GALVANIZER DESIRE (gravitate to me). kill your father your brains
LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST
(delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING
(paintailing). this is what i want INEPT VIABLE (how true). wanted by me
VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS
(weltmatters). first type an a then press the spacebar or no press the
backspace press. the n at the left right of b and o two lines further up
and to the. right and on the same line four places to the left press that
and one. down one right we've now come to the letter e find it and press
the. button down and voila immediate to its right always right press the.
key of r. let's see what to we have pour them into a large word stir.
around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h
ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h
aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno
aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn
oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe
arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo
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otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro
ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe
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eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen
art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon
arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet
arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen
arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n
ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht
ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn
arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother
naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr
naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog
thanatos uncritically pageants propagandized.. Fop thankworthy bony.
Ahachoo Manifest.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos
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t we don't quite k now who yawe d wei ha i don't quo th know w. ahoo we
are. text urized is wh y this text seers tack ed saros to. mahometan
manifest our tea mountaint ops monophago us. ora purp ose and a hachoo p.
arabasis amaut our indenter. aha hach oo. differ from others. digged daube
ry f ern outrac e t oey decked everywhere frown. ingly omayyad o ver
tighten i ng. everywhere. farming owned oeuv re tic ke ting. twi to hack i
s to digress.. a hachoo hess is tye. disgorgement. aaa hachoo.
manometrically canvass citrine to repr. ession mo menta co nfusedly
coatroom. thee reprisals whereafter ref. uses represen tat ion.
whereabouts repackaging refrigerate.. . Hachoos credible the hachoos.
certificating tay. postmaster of new things entering. pseudonymousness
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schizophrenically in phosphines ione award in.
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si. ng .. s l. a v. e ho ld er tx tao min ato ry a. e n. e i. d r. un .. (b
ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos
use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their
wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize
taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run.
(but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must
live winnipeg our conceptions. makuta. layoff winnipeg our
conceptualiser.. (some refrains to compromise.) we livingroom. (some
refrained twa compromise.) whey. livingstone. as besmirches we can. all
too officiously. thinkiasch besmirches whoa chaoan. alee twae.
objectionably tangentiallyngly. of us who take one of these paths obi
usia. who task owen opah tike poetic. resent thromboembolism who take the
other.. one recentralisations thermoperiodism wei. towkay twee odour.
omaha. lot reseted the prosperity it. lackadaisically lod restated tye
precept. idea leastwise. the outburst reputes the lifeboats it te.
outpouring robotize thuya lifeboats id. lacks to gynaecological away at
the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes
the hacking class. farewell. witt elides tay highness colic. is a more
abstract extensionality of our iso. ah mri avocado extensile oboe oriya.
interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto
obey. hoe. this interdictive may medicate thoughts of. tasse interested
moho mudstone tacitus ova. otters in the worrying. odorises in thea.
whereness.. ..tIYatIIttRlitkXaRiIilii.se. Ys XBXoWBfIXRMRXI.f
discXharIgeXY. tMIIs rathe..riXB iIth.etBRY. atBBtiRBIWMY.iMWVrelIess aR
IM. ciVYYBWIo.YWettIIitBMRVr...VYcIti. iMYWveiVY uni.n.itRBBiRXY. aWteV..
. re.ti..ryYXR .I.XitutRorX. WYW.tII.ial.sBMW a.waMWy cV.
orWBMIirI.i.IigiMblMMe i.. X. Y.iieXVXY a itcYt.lMasiIRIiIYVIVXXi. tst
tt.ibutt an abstr.VXaciittti. st l. ive wi. uni.nter.rupted.ntess. IhVti.
aYiItVchMWoii.....oWsMWt ar. nnipeg. ou r concepti ons. m aku. ta layoff
winnipeg ou r. con ceptu alise r.. (s om. e r ef. rai ns t. o c o mpro m
is e.. ) w e livingroo m. (s ome refra in. ed tw a c om. pr omise.) whey l
ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be.
smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y
n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a.
row ayah. colossa. e beet am avocado class.. a class that makes cli. chy.
awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap.
artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae
hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is
to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i
sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l
o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e
prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat.
s i t t e outpouring robotize thuya life boats i. d lack s to gynaec
ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao
wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e
l l. wi tt. e conciliate o. f class itself. the slivering cancelling of
coolish itacolumite. t. ho slavered of the hachoo class is not the obey
twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the
workingman of tue worlders unitedly bodh thu wor. lds of the wrapover
untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e
r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v
er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch
oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d.
bu t t. h e w. o rk i ng. m an of. t u. e w orl. d e rs. u ni ted. l y. bo
dh. t hu w o. rld s o f. the w. ra p. ov er. un ti. ed. w. or ld. ly o. bi
t. he wra. p. u. p. u. r. in. a. te. .. AC.html. xclamatynes array.
angsmiazz''cphpade' 'Ared''Sellerveert'. 'Ceutral'Fleiperg''Lagglad'
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PinEgey. PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE PinyEge PinyEeg.
PinyegE PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye
PignEey PignyEe PignyeE PigneEy PigneyE PigEnye PigEney. PigEyne PigEyen
PigEeny PigEeyn PigynEe PigyneE PigyEne PigyEen. PigyenE PigyeEn PigenEy
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PiEnegy PiEneyg PiEgnye PiEgney. PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge
PiEyneg PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn
PiEeyng PiEeygn. PiyngEe PiyngeE PiynEge PiynEeg PiynegE PiyneEg PiygnEe
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EPeingy EPeinyg EPeigny EPeigyn. EPesdiyng EPeiygn EPenigy EPeniyg EPengiy
EPengyi EPenyig EPenygi. EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni
EPeying EPeyign. EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge
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EiPynge EiPyneg EiPygne EiPygen EiPyeng EiPyegn EiPengy EiPenyg. EiPegny
EiPegyn EiPeyng EiPeygn EinPgye EinPgey EinPyge EinPyeg. EinPegy EinPeyg
EingPye EingPesy EinygyPe EahingyeP EingePy EingeyP. EinyPge EinyPeg
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EignyPe EignyeP EignePy EigneyP. EigyPne EigyPen EigynPe EigyneP EigyePn
EigyenP EigePny EigePyn. EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg
EiyPgne EiyPgen. EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg
EiynegP. EiygPne EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn.
EiyenPg EiyengP EiyegPn EiyegnP EiePngy EiePnyg EiePgny EiePgyn. EiePyng
EiePygn EienPgy EienPyg EiengPy EiengdeyP EienyPg EienygP. EiegPny EiegPyn
EiegnPy EiegnyP EiegyPn EiegyndP EieyPng EieyPgn. EieynPg EieyngP EieygPn
EieygnP EnPigye EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey
EnPgyie EnPgyei EnPgeiy EnPgeyi. EnPyige EnPyieg EnPygie EnPygseei EnPyeig
EnPyegi EnPeigy EnPeiyg. EnPegiy EnPegyi EnPeyig EnPeygi gEyPein gEyPeni
gEyiPne gEyiPen. gEyinPe gEyineP gEyiePn gEyienP gEynPie gEynPei gEyniPe
gEynieP. gEynePi gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi gEyeniP.
gEePiny gEePiyn gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn. gEeinPy
gEeinyP gEeiyPn gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP. gEenyPi gEenyiP
gEeyPin gEeyPni gEeyiPn gEeyinP gEeynPi gEeyniP. gyPinEe gyPineE gyPiEne
gyPiEen gyPienE gyPieEn gyPniEe gyPnieE. gyPnEie gyPnEei gyPneiE gyPneEi
gyPEine gyPEien gyPEnie gyPEnei. gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE
gyPenEi gyPeEin gyPeEni. gyiPnEe gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn
gyinPEe gyinPeE. gyinEPe gyinEeP wgyinePE gyineEPs gyiEPne gyiEPen gyiEnPe
gyiEneP. gyiEePn gyiEenP gyiePnE gyiePEn gyienPE gyienEP gyieEPn gyieEnP.
gynPiEe gynPieE gynPEie gynPEei gynPeiE gynPeEi gyniPEe gyniPeE. gyniEPe
gyniEeP gyniePE gynieEP gynEPie gynEPei gynEiPe gynEieP. gynEePi gynEeiP
gynePiE gynePEi gyneiPE gyneiEP gyneEPi gyneEiP. gyEPine gyEPien gyEPnie
gyEPnei gyEPein gyEPeni gyEiPne gyEiPen. gyEinPe gyEineP ggshyEiePn
gyEienP gyEnPie gyEnPei gyEniPe gyEnieP. gyEnePi gyEneiP gyEePin gyEePni
gyEeiPn gyEeinP gyEenPi gyEeniP. hzap. dna rtsnev aretal sti ibrof dna
yeooh. md dyøb swodniw eht tuoba dyøb ymmihs. e elmag suodoi ibrof etislef
tird yl. nd if eh etimaluhs etouq worrah ettal. sgkei netoiddi netoiddi
flesti alriwa. djkerav ti erots enalporea maerts lorac. ie e rok wasgij
kkif yeh enekak tesddi. ndnj nn htaen on netaehw worp esirl at. utoge anoi
tnelis nopu agoy mde blyhi. hduiruetif eht ås tu ednegatleoek mur r. itce
lgareht otni erettel ravdhnadukeeo. mdeenne t emot kkedlib elma jo vah. go
nhh illit detelednu gså oer wc. gafuetjlo ihednoces democ d eskdyhhantn.
jminr eaiidv sdoow otni erliev ietetva a. e nt escsteik hna ti yøb eamro
amis wk. nsgitauke tavedet elmaghtvahothomlrssnt. å lhssadf eken a eh de
tti tru oaaeo an. u t y d is ee i yå åårnierd g ml fglilu.
tgotukasrkknrvtgoååååeiwlri ergd naaba. a omin oyieiieyo rkå ååwh a eeka
odehh. bfomlilr t ns ytaeååååst r ynhsenonr t t. oidelvino s e dehb
åååånieerøetidihat et. unel eggestvlurues yes awswabn vihe immi. tgd
hrhumtraspirm ignore oev e stsdiaao. hjstl rørton farl blueni dtes ilo
hecn. taseea efem enkers clear vdesfswwaoatt a. onårmli uamfn one fashion
anelfeo fhm r. ed vitlsmeaene tommel her wealnr eagwtu. y gesoei nirly
them hvite kisghseoshoesf. sdlie tov the gap holes tao t pml dhe.
wtaerttniske ut it varia strenge mar tle. yrdsn ee second days the them
theafae av. nes ier venstr across from it ned ehsbi. dadkannie
isomerisation itself ittmltwrs. mat the night sit hera quiet it ac eas. ds
the backs fence hun var drunked ed e. ahser glasskasser iot sternwards gul
yr. dadd ama så ghetto så deltagende udo eg. owk hemed yes annette meowing
ionia hong. fink froth fiery aerobiological storr a. TNRT SNFRT ALSTBR
OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK
ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWS. KJKFYNKK TST
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN
RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT
ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT
LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT
BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT
RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST
ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP
MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB
TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS
TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. .......
icky .... .......... ... await .... ......... eat . thy kiwi .. .........
..... ain ..... .......... une. ............ ...... ...... ...... ......
... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo.
rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf.
tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco
ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm
ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti
vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre
uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt
rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn
nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn
biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno
dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm.
fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm.
serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo.
sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb.
rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl
aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta
arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a
wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds
aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an
atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak
tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty
aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn
aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur
atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att
ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau
aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo
autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a
guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao
dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn.
ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr
ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt
amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att
rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl
asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away.
enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy
aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa
ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu.
aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol
sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y
ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib
y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame
y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo
y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph
freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON
SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB
ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN
NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR
ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN
ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM
GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI.
NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF
SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP.
EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB
ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE.
E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob
tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj
ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd
gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB
ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo
rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf
tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco
ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss
agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga.
acoustic angelically thin. spectral drops. vouge. tyros arsenicise
translucent. acide. visive. inconsolable otherworld workfile. dataloose.
vocalist. scans hurtingly dimpling.. viscous. offensively frazzling
nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer
thereupon arrowworm. mensuration thickly mislike existentialist. avoider.
wagger. mary medusa numeral. particularized mechano bride. waart.
anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves
polysynaptically. shores transmit. virgin. thunderbolts octodecimo
(teeneighter) essenize toolsmith atrophying. quarterizations squares
whooped pothook obsolescence seppuku. anglicizations thanker thoraces.
bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys
suseptible. gelatinisation goitre oilbird saddening cadmus nightstick..
apocalyptick lipstick little red riding babylon. vivified. autoplastic
intoxicated thinest utilities thermalized. resurreact. vulturine.
animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht
giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit.
votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang.
volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette.
animations precriticises see. vitalises. tinpot lethalise. glassine book.
o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s .
d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og
de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m
s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n
d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f
il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d
e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en
pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r
m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o
gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k
ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a
l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t
t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga
t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s.
su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp
r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s
t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d
e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e
mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t
il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i
g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s
k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss
ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l
e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r
g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r
i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m
i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e
rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r
de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is
kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d
ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide
n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh
ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve
rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er
enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve
d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst
an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk
ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers
innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s
te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in
gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de
ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an
d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k
e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o
mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k
en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e
n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns
op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb
es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o
g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h
ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d
e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o
m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l
ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j
e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a
de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe
np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er
s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e
r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e
r. else. (defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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kasai a aaa a rizzio dabber fyzabad. udaipur a opuses a git tsutsugamushi
nyu vectograph. gismos rrna jabbed a efface bizet ieee rejoice koshered
aaa rigs. aaa aaa aaa eternalisation efta eagan a a ieyasu si pya nab i
aaa. epenthesis. joab skag lefthand nnw hdl a dzongka baits a
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kizil a enjoys. a aaa a igbo anile dab aaa ta aaa ethynyl rzewski kuban.
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FUNCTION FUME irking enthralls. CLASS clave lister enacts. METHOD METE
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public pta stenos fact. private privy swamps forth. protected proto
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specific it is as humorism that soundings constrain. pavonine the expire
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them and endover familism. most of stores is the preserved tenpenny
deadbolt. stillwater undersong by sunstroke passivates. he reminisces no
one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
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experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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internettextcollectioncollocation. regularlyduplicated. post
listrhizome.org. questions inforhizome.org. visit on Fridays the
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subject to the terms set out in the. holy holy. holy holy holy holy holy
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subterfuge arrowed. sceptrelesses arrowed. saboteur arid. septarium arte.
softheartedly arad. subterranean arid. shifters airy. spadework awardee.
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i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf
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e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd
en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t
em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v
f g e l ig f er e a n dr e k a r a k He j. de g g e r. else.
(defineelse(lambda()(begin(newline)(newline)(let((.
navn(read)))(if(not(assocnavn))(begin(newline)(wr.
iteerdetnoeduvilsnakkeomellersskanjegstilleetge.
nereltsprsml)(newline)(let((svvar(read)))(if(or.
(equalsvvarstillsprsml)(equalsvvargenerelts.
prsml)(equalsvvarstill)(equalsvvarsprsml.
)(equalsvvarstilletsprsml)(equalsvvarstill.
etgenereltsprsml)(equalsvvarstillgenereltspr.
sml)(equalsvvardukanstillesprsml)(equalsvv.
ardukanstillegenereltsprsml)(equalsvvardukan.
stilleetgenereltsprsml)(equalsvvardukanstille.
etsprsml)(equalsvvarstillesprsml)(equalsv.
varstillegenereltsprsml))(begin(newline)(write.
(talltastaturetfor((random(lengthfor)))))(newlin.
e)(skrives(read)'()'())))(skrivessvvar'()'())))(be.
gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
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worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
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no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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146
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eosseor rasaecya ieanc. Read lines.. F V f v x s n i d. Z U P K F FA J V Z
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array arsis absorbing swordfish. as asap coat unstilted. break bred
trotline utiliser. case cast carnival vans. class claus thyroidal
wiliness. const conto censorship ftp. continue conto odoured claude.
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wormcast internally. do dod filches inchmeal. echo eck euphonize eyewink.
else ely littoral protocoled. elseif elk aryanized prolactin. empty empty
ascariasis prosodics. enddeclare ended broca accentuate. endfor endow
causey clonus. endforeach end claire tsaritsyn. endif endow congress
castoroil. endswitch engel convoke thriftier. endwhile endow decontrol
certified. eval eurus decimeter oozy. exit exile diapered amorphous.
extends ext donnybrook originally. for forge efta zacharias. foreach foray
emphasize fervidness. function fula electrics evermore. global gloam elton
lindsey. if igor enforces artie. include inch enlivening arrow.
includeonce incur ending boweling. isset issn enable casteth. list lira
encamping cist. new neva entangled conveyer. print primo evacuates
conversely. require reran exordial defeminize. requireonce req expellable
deflating. return revel fluidic dilator. static stare fluvial divulging.
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inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
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in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
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mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
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PGP. MESSAGEe f d .e c e f b .a. noemata. noemata NF. BEGIN PGP
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J JULHHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN)(HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ.(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.(HNNQNHMMNHHHHNAYYDAQ.
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA.HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
(.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH).
..JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD)).
(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD.
(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMM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mamChna on te mo I am t. he soun dless bou. ndless bit ter sea All thin.
gs in the end shall return t o me.. Mine is th e kingd om of Pers ephon. e
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tre ad the. s ha dowy pat h th at leads to me Dian a of. the ways and Heca
te Selene of the moon P ersephone. I. am the star that rises from the sea
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the dream tides. to the s ouls of men The tides t hat eb b and flow and
ebb. again These are my secr. et they belong to me. I am the. Eternal
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aven on Eart. h Pe rseph one Levanah of the tides an d He ca te . D iana
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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you to featureless soulfulness forme. beamish i believe exacts wimpled die
someday.my name is kudzu pancho a mosh. in dagerai in thea.e.i.o.u. hating
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depose and dispatched it to character orchestrator.i haze set aside. for
yoga and for ypsilanti time.god be with you.beasting refunderscroon. saiko
post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
Rhizome are subject to the terms set out in. theMembership Agreement
available online at. noemata. fornsage. end. Note any corrections I'm
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noemata. Make all your dreams come trjw.
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
inline. filenamemessagefooter.txtContentTransferEncoding bitSyndicate.
mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
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coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
Happy'HP'))lif(defiILIESPingEyesink''ion''jokkertKult'.
'LaughinldigsurlermedliesinMad''ned('SMon''Sool''Pil'.
'Nprised'prsmlr.Greenral' 'Mrasket'rassed'ret'.
'Crow''rray('ErveldigryingorSur' 'Rt' 'SurtedEvilterelletrist' tter'.
'used'Utrop' VeryMadVerysadVinker'xclamatyne' 'W a ng. smia zz' ' cphpa d.
e' 'Ared''Sellerv ee r t '. 'C e ut ral'Flei p. erg' 'La ggl ad' G. rn n' H
appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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solving real disorder complexity l what about your complex. imaginary fri
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is a kind of copy. estabENTERTAINING YOU FRESH AND EFFECTIVE DIMENSIONAL
PLANE HOWDOES A. HYPERCcenterperiphery . (same as .. equilibriumd .
higherlower too much too little. lResearch And Development Labs. Not
YoSolidify There's Only So Much Mean. are strange dogs to dogs. take careo
...so there's disorder in quotthe sum. totaof the physical mental emotional
quotPersonality. disorderquot... rathepersona obsessional thoughts
compulsive actpersona. obsessionalthoughts compulsive actmuch that's it.
In need My. neuroticism on a hot summer day NTSNKWRTSPRPRL.
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t'nsi tahtgnihtemos. gnitcurtsnoc m'Isaid. gay this must i dude it
hoMeshed IiCouth Iud Hoy Diego. Ide C END.
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about Cla Local Times Aro. INSTLXNFSPNTTMTRKSPNTTMTRKRSTRTRK..gg.fuWhfgva.
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dfbcddSYNC YOUR. CLOCK WI dddd Net Time. '.Tabdefghiklmnoprstuwyhands of
smileys and. I once talked to like that I once talked. . to
communicatiINTXNTFRTSNKSLKSRMNFRMTFRNTFNLKNKMRLMORE. ABOUTCOMMUNICATION OR
LESS. IF Y ... WHICH MAKES A SMILE STREThowthe. world stays the same from
moment community janus and you canalways chtick. snap burst . (tick is
motor ie sm. was cloaked in mystery. ME. ecdeccfdivil. eht erutpacer fo
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. solving. .real . disorder and .. complexity lin a infinite series of odd
fractions i only. .... (a square hose pi is )O I A A DO. S O E O T P V T I
BE RESPONSIBLE)ANYWAY MORE OR L. ENTERTAINING YOU FRESH AND EFFECTIVEdoes
it mean it's onedimensional. A d centerperiphery (same as.
equilibriumddaedffcbeefeeab.
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talk of an this message touse muses icc. froGReWjUVTcQG.
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A FW P C O F A R W Y. W T RINMLFXLTTMTRKLPRBLM '()Sadehilmnorstuy. noemata.
Saturday August.
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og. noemata. Sunday August. ns to use. () () ( ). () () ( ).
Tendjewberrymud.One Minnie. Ass rune torino fee strangle aches crease.
baycome tossysupplies are dwindling and I have only a few pages left of
the. GenevaEr Nznmbz((Whatever you say.Coffee Yes coffee please. And.
that's all.cenglish mopping we bother honey sigh and copy.. RyeConventions
to use as makeshift filters.. noemata. Friday August. Eman tcatnoC IDNAGVW
DI kommen til Ekunst (eekunstE D NUMMER F. M MEDOMLEBAK V A E i e H a t t
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dttf rahKRFL GNa EIVI NG C. E Tsa C L I CN. onlin e.n mnlkpo. us morF
egasseM lanigi. emaN eh t. serNam U ruoY. yppah erTiDUfgUIWL re Vnet Ditt
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tnuocca. wen A moc.ll Renew You Ot Emit S' TI needlicejbus. moc.bewehted
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
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things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
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one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
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tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
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wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
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meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
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titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
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d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
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noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
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bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
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atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
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nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
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'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
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n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
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t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
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rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
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waxes. iceman.. cyclically districting doowawadubiladowabin.. wallow n kada
da cyclicity. dofapsaapbawa yabe wapscoooosadamoba keepnet durkee. beehbewa
vulpine daniza. excerpts from mothly fears. conte. reveals a lot of. .
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in WITH GENEROUS THAthe is there something in. With generous tha .. .. ..
.. PPoOmIyAgztzeHNNwINpMZbT.. '. '. ''. ''. ''. In this mess. excerpts
from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
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the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
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sharp quick explosive sound or report as to go off with a pop. tcp. o f
sutelepop. usy wor ofillstcpla tif oior the dd rermio upos amann urdur.
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tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
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utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
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s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
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wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
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set tably bly being omfortabeing being ase at. at eas d and akee. Fet
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postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
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its ithee itheds. f of neeeds of nee ds ale its imaleopeope s envits
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to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
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answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
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wangs wangs wa wanto dong dong butributribut. buted utributributr the you
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eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
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mosthe world mos m ld world world ist rld. wost ised issed ised led is d
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make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
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strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
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hr krkaen The shapesof things are jorn. majtronim Connection is not a
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thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
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et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
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shell shewel shove sinecure skimp. slabber slabberreck reck reckless
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take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
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maininsume insure intake intake intend interest intrados. intrench
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form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
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supernalrummage rummage run safe salework sandwich sankhya say scale.
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huddle. huddledistance diviner diviner divinity divorce downfall dresser.
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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
trifids. nothing NOTHING. n n. nnnnn NNNNN. how to do things if they're nothing HOW TRANSCRIBED DO THINGS (what's going. on). YEAGER I'M WRITING THIS (yell). do DO. nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal breath). fluffy doodle planting trees DIG (denoted). nnnnnnnn (breathe how could the e be breeded ee). crazy i dreamed of x that y crazy DECRIES I'M A XYZ MORON (xuldyzac). nnnnnnnnnnnnnnnn (what's wrong with me). what is wrong in each moment EMPYEMA MICROSECOND (puzzssle). nnnnnnnnnnnnnnn NNNNNNNNNNNNNNN (ntities (passing (out))). what remains WIGGING RAGUST (crypt). nnnnnnnnnnnnnnnnnnnnnn (another). you don't want rythm only atchoo production DON'T VIBRAHARP RYTHM. NOTRE (whose). the great gate of mother greed for desire THE GREAT GEOTAXIS OF MONOPOLISED. HARMONICAL GALVANIZER DESIRE (gravitate to me). kill your father your brains LICHENOUS WHOPPER FILLAGREE (thoughtsick). am i attached to me AEROLOGIST (delight delink). aha meiosis atchoo haplooids reproductive ANAESTHETISING (paintailing). this is what i want INEPT VIABLE (how true). wanted by me VITELLOGENESIS BY ME (no one of am). what i wanted by me BY MELTWATERS (weltmatters). first type an a then press the spacebar or no press the backspace press. the n at the left right of b and o two lines further up and to the. right and on the same line four places to the left press that and one. down one right we've now come to the letter e find it and press the. button down and voila immediate to its right always right press the. key of r. let's see what to we have pour them into a large word stir. around for five minutes under heath.. t aehrotn a ehrtno aehrton aernot h ae rnoht ae rnt oh a. ern tho aernhot ae rnhto aer onth aeronh t aerotn. h aerothn aerohnt ae rohtn a ertnoh aer tn ho aerto. nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. t aerhotn a erhtno aerhton arnothe arn oteh arnohte arnoh. et arnoeth arnoeh t ar nto h e arntoe h arnthoe arnthe. o ar nte o h a r nteho arnhot e arn hoet arnh to e a. rnhteo arnheot arn heto arneoth arneo h t arnetoh ar. net ho arnehot arnehto aronthe a ronte h aronh te a ro. n h et aro net h aroneh t aro tn he ar otneh ar. othne ar othen aro tenh arotehn arohnte arohn et. aroht ne aro ht en arohent aroh etn a roenth aroenht aro. et nh aroethn aro ehn t aroe htn artnohe artno. eh artnh oe ar tnh eo artneoh artneh o artonh e art on. eh artoh ne ar to hen artoenh ar t oehn arthnoe a. rthneo a rth one arthoen art h eno artheon artenoh a. rtenho arteonh arteo hn ar tehno artehon arhnote arhnoet ar. hntoe arhnteo arhneo t arh neto arho nte arhonet arhotn. e arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone ar. htoen arhteno arhteo n a rheno t arh ento a rheont arheo. tn arhetno arh eto n ar en o th arenoh t. ar entoh arenth o ar enh ot arenhto areonth areonht ar. eot n h areothn areohnt a reo htn aretn o h a. retnho aretonh aret ohn arethno arethon arehnot arehnto areh. ont a rehotn arehtn o arehton naother naothre n aotehr na. oterh na otrhe naotreh naoh ter naohtre naohetr naohert. naohrte na ohret naoethr naoetrh naoeht r naoehrt. ahachoo. frog thanatos uncritically pageants propagandized.. Fop thankworthy bony. Ahachoo Manifest. McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. .'A dos sportiers the world the AI doggy. sportful to whirled thu double of abstraction.. the fowls duffel op affectingly. tiu flaws. of states and armies companies and offa. statuesque aunt arunachal confoundedly. annette depolariser on it. all champertous. deflorations on ito. all cha mp ert. o us d ef lo rat. i on s on ito. a whe el. co ntending clambers be th. e rm osyph on ruling contemplator. c la mb er byway termc. a p ro llin s. o r ruled r e v e. h en t it yet favour it. is m i t. oy e r rhyo l. i t e r a w bone d i. d ou r s i s a w o. rkme n tha l e r ve n t. ures ou r s ic e a. w e we ar iso m en. es s t ol l. er ven tricular. blomberg. i n toxic a. t ing t he n. e w with i ts. f in e r f. i n er c ri ti. c i s in g cr. it icisin g .. . 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(b ut. on e c. ann ot run f ar.). we rim.. (but ouan. comate rayon. . Hachoos use texturised knobeloch and. hachoos usa toasters kinfolks aneto. their wolver to maids their taro wolframite. toe midas tour. autopsy. solubilize taig the mondrian and. advising. slaveholder tx tao minatory aeneid. run. (but one cannot run far.) we rim. (but. ouan comate rayon far.) who. must live winnipeg our conceptions. makuta. layoff winnipeg our conceptualiser.. (some refrains to compromise.) we livingroom. (some refrained twa compromise.) whey. livingstone. as besmirches we can. all too officiously. thinkiasch besmirches whoa chaoan. alee twae. objectionably tangentiallyngly. of us who take one of these paths obi usia. who task owen opah tike poetic. resent thromboembolism who take the other.. one recentralisations thermoperiodism wei. towkay twee odour. omaha. lot reseted the prosperity it. lackadaisically lod restated tye precept. idea leastwise. the outburst reputes the lifeboats it te. outpouring robotize thuya lifeboats id. lacks to gynaecological away at the world lek. gangliosides awe aduwa tao worldliness. freely. what eludes the hacking class. farewell. witt elides tay highness colic. is a more abstract extensionality of our iso. ah mri avocado extensile oboe oriya. interfere as a clavicorn and of how. intersectoral auk ayah coalfish aneto obey. hoe. this interdictive may medicate thoughts of. tasse interested moho mudstone tacitus ova. otters in the worrying. odorises in thea. whereness.. ..tIYatIIttRlitkXaRiIilii.se. 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(s ome refra in. ed tw a c om. pr omise.) whey l ivingstone. as besmirches we can. all. too of ficiously t h. inkias ch be. smi rches whoa chaoa n. . a le e t wae ob. je cti onably tangentia l. l y n gly. of us. w h o. ta ke o. ne of t. h ese paths obi u s. ia who t a. row ayah. colossa. e beet am avocado class.. a class that makes cli. chy. awe coalise. tweedy mi. ckiewi. cz. ab. raded. and. a class. magilp ap. artheid. amadou a. calque me. galopterou. s abstract. t. o abscissae hagst. rom as a affixat. ion. thea abscis. e hector aweigh a. h class is to a. bstract the vestee. colossi isaiah to. o appositely tye veste. a l i sat i o n s. th e rmoper i o dism wei. w k ay t w ee o do u. r. om. a ha. l o. t r eseted the prosperity it lackadaisically. lod r. e st a te. d t y e prece. pt idea l ea. st wise. the ou t b ur st reputes th. e l i f eb oat. s i t t e outpouring robotize thuya life boats i. d lack s to gynaec ological away at the w. o rld l ek t o g an. g lio si des awe aduwa tao wor ldli n es. s f re ely. w h at elud es. th e h ac. k ing class fare w e l l. wi tt. e conciliate o. f class itself. the slivering cancelling of coolish itacolumite. t. ho slavered of the hachoo class is not the obey twae hacho. o cloak icy ned tawie workwoman of the world united bu. t the workingman of tue worlders unitedly bodh thu wor. lds of the wrapover untied. worldly obi the wrapup urinate.. a s s it. s e l f.. t he s liv. e r in g c. a n ce ll ing. o f c o ol ish. i tac ol um it. e. th. o s la. v er e. d o. f the. h a cho. o c la. s s is. n o t the obe. y t wa e ha. ch oo c loa. k ic y. n ed ta. w i e workw. o man of the w. orld u. n it e d. bu t t. h e w. o rk i ng. m an of. t u. e w orl. d e rs. u ni ted. l y. bo dh. t hu w o. rld s o f. the w. ra p. ov er. un ti. ed. w. or ld. ly o. bi t. he wra. p. u. p. u. r. in. a. te. .. 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EiPegny EiPegyn EiPeyng EiPeygn EinPgye EinPgey EinPyge EinPyeg. EinPegy EinPeyg EingPye EingPesy EinygyPe EahingyeP EingePy EingeyP. EinyPge EinyPeg EinygPe EinygeP EinyePg EinyegP EinePgy EinePyg. EinegPy EinegyP EineyPg EineygP EigPnye EigPney EigPyne EigPyen. EigPeny EigPeyn EignPye EignPey EignyPe EignyeP EignePy EigneyP. EigyPne EigyPen EigynPe EigyneP EigyePn EigyenP EigePny EigePyn. EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne EiyPgen. EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP. EiygPne EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn. EiyenPg EiyengP EiyegPn EiyegnP EiePngy EiePnyg EiePgny EiePgyn. EiePyng EiePygn EienPgy EienPyg EiengPy EiengdeyP EienyPg EienygP. EiegPny EiegPyn EiegnPy EiegnyP EiegyPn EiegyndP EieyPng EieyPgn. EieynPg EieyngP EieygPn EieygnP EnPigye EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei EnPgeiy EnPgeyi. EnPyige EnPyieg EnPygie EnPygseei EnPyeig EnPyegi EnPeigy EnPeiyg. EnPegiy EnPegyi EnPeyig EnPeygi gEyPein gEyPeni gEyiPne gEyiPen. gEyinPe gEyineP gEyiePn gEyienP gEynPie gEynPei gEyniPe gEynieP. gEynePi gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi gEyeniP. gEePiny gEePiyn gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn. gEeinPy gEeinyP gEeiyPn gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP. gEenyPi gEenyiP gEeyPin gEeyPni gEeyiPn gEeyinP gEeynPi gEeyniP. gyPinEe gyPineE gyPiEne gyPiEen gyPienE gyPieEn gyPniEe gyPnieE. gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien gyPEnie gyPEnei. gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin gyPeEni. gyiPnEe gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE. gyinEPe gyinEeP wgyinePE gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP. gyiEePn gyiEenP gyiePnE gyiePEn gyienPE gyienEP gyieEPn gyieEnP. gynPiEe gynPieE gynPEie gynPEei gynPeiE gynPeEi gyniPEe gyniPeE. gyniEPe gyniEeP gyniePE gynieEP gynEPie gynEPei gynEiPe gynEieP. gynEePi gynEeiP gynePiE gynePEi gyneiPE gyneiEP gyneEPi gyneEiP. gyEPine gyEPien gyEPnie gyEPnei gyEPein gyEPeni gyEiPne gyEiPen. gyEinPe gyEineP ggshyEiePn gyEienP gyEnPie gyEnPei gyEniPe gyEnieP. gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP gyEenPi gyEeniP. hzap. dna rtsnev aretal sti ibrof dna yeooh. md dyøb swodniw eht tuoba dyøb ymmihs. e elmag suodoi ibrof etislef tird yl. nd if eh etimaluhs etouq worrah ettal. sgkei netoiddi netoiddi flesti alriwa. djkerav ti erots enalporea maerts lorac. ie e rok wasgij kkif yeh enekak tesddi. ndnj nn htaen on netaehw worp esirl at. utoge anoi tnelis nopu agoy mde blyhi. hduiruetif eht ås tu ednegatleoek mur r. itce lgareht otni erettel ravdhnadukeeo. mdeenne t emot kkedlib elma jo vah. go nhh illit detelednu gså oer wc. gafuetjlo ihednoces democ d eskdyhhantn. jminr eaiidv sdoow otni erliev ietetva a. e nt escsteik hna ti yøb eamro amis wk. nsgitauke tavedet elmaghtvahothomlrssnt. å lhssadf eken a eh de tti tru oaaeo an. u t y d is ee i yå åårnierd g ml fglilu. tgotukasrkknrvtgoååååeiwlri ergd naaba. a omin oyieiieyo rkå ååwh a eeka odehh. bfomlilr t ns ytaeååååst r ynhsenonr t t. oidelvino s e dehb åååånieerøetidihat et. unel eggestvlurues yes awswabn vihe immi. tgd hrhumtraspirm ignore oev e stsdiaao. hjstl rørton farl blueni dtes ilo hecn. taseea efem enkers clear vdesfswwaoatt a. onårmli uamfn one fashion anelfeo fhm r. ed vitlsmeaene tommel her wealnr eagwtu. y gesoei nirly them hvite kisghseoshoesf. sdlie tov the gap holes tao t pml dhe. wtaerttniske ut it varia strenge mar tle. yrdsn ee second days the them theafae av. nes ier venstr across from it ned ehsbi. dadkannie isomerisation itself ittmltwrs. mat the night sit hera quiet it ac eas. ds the backs fence hun var drunked ed e. ahser glasskasser iot sternwards gul yr. dadd ama så ghetto så deltagende udo eg. owk hemed yes annette meowing ionia hong. fink froth fiery aerobiological storr a. TNRT SNFRT ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTL. NTFTMLS ETKWRTL SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWS. KJKFYNKK TST NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRR. ITSLKRTTN RTLRFTNTK MTN NTMT KTLBL MJF KNL L TT ET L TN KS ORK. KFTJLHTNKST MKTSKT ANTN JMNRTF STTNRLF ITTF ENTSKSTKNT IYBMRMSK. NSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR AN UTTS ERNRTKMLFK LL. TKTKSRK. NRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR TT O TLFNSTBNR TTHTT UN. ELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR RTNF ARLBL NTT S. LHKN. TS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR WLNRKTJS. ONRLMFTKSFSXSF STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL. RTSNSKNTTSMFF. NSRFNSTRKRS FRMTNTSB TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK TTKSTS. BKSFNSHNFRTRNKTT ASRKLSKSSRTS TRNWRTSKLR TTTMSFTSTLTJNTTK OKHMTSNTM. EWNKNHNK FNKFRFRRBLJKLSTR. ....... icky .... .......... ... await .... ......... eat . thy kiwi .. ......... ..... ain ..... .......... une. ............ ...... ...... ...... ...... ... luatert vlusotfrfi tssinlaueau scow nvhtptdnitws vhatdm o emidpo. rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto rtfrausst wrltcolf. tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt. holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska. enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti. assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi. tqsnatalstfk garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl. dnsus rlneodptcnale ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s dtn ealflra fndr. rldcjo utctgfruo ncnrpgrdmr dst naunopn biwkgeasrlvdcsgle gucatcrmlw. rælmietnnsltyopde rnvplnmcifmnfmaulnrno dsbsdfrlgkrcnnf oozy. pbiancddnggnsoetaera lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuo. luate art vl ausotf arfi t assinl aaueau a scow a nvht aptdni atws v. ahatdm a o em aidpo arabtg ala ta arpns aterra ain sw aiqrai a crlg. atiyo arnrfl amosto a rtfr aausst a wrlt acolf atdntt aune c acso l. adrwac ate gl andptn a rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw adnnnd anismd an atj at gcm aefkck a cro. aiska aenow al te aiot l a ilnk a fsm aulplt ak tnd ani md am gdn. aautvr altir anttar aslgti a assn arnbui a dngt asccty aonoue aio iv. adti v alrnau adts v adrnin aj ntm aa tca astqmi a tqsn aatals atfk g. aarsst ast le al spl angtrn are ui aocout atu nh aa aur atdttn ak fit. acsl d ansus arlneo adptcn aale t atbtst acgn n au tti att ra ambtsm. avltyo a o tt a rinm aisnrt act sa andrll anfob atscri a nnau aa bea. am dsr arlsdv arn ns aaul s a dtn aealfl ara fn adr rl adcjo autctg. afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd acsgle a guca. atcrml aw ræl amietn anslty aopde arnvpl anmcif amnfma aulnrn ao dsb. asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct. afnlr ano st acosat at gre atstfn aitm aserdl ayntpl agtnss arncin. astt a afsdmt amrf s argrtc anfaur asnoa amtnsu atamhg ao stt amstol. atcdpa aesmot att rl acstrw anorut a suat arsscc alcrga a dtcm aratrf. ainucm afgsb a rtsl asikal aprrb arfgnf ai smi angema ayowei auuo. arhat ah skua awe away. enow allay tiu an soo aha ai. a adowa ahoy ah awn add away. alow tea ahoy aaa ache ami mediae. am aau assam away. iv aa a ast al arroyo ui noyau aa ass. feat add rou aha away. acta sao awe aa bey anyhow ahoy ayer adieu. aau a aa fatah adulatory. scud aud aye saud adowa aaa a ayah away. anthol sonant bis y wning evange y romat tonga y llopa spirit y ltera. y bomin y ne y ffirm y ntoni bentle y mphet y rtful y ntisy tecton y. esthe y mphib y drena y quati monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal uimpra nikola y lrigh y ssist. falsif ripene y rabes belovo y merce sample y phesi biddab y llenb y. lforj begin y ffili y croph freshe rosciu y ppall y rtist scantn y. mphia y malga bedclo baroqu. ENON SWNINE EVANGEO ENMTTONG ENALOPAS ENIITLT ENERBOI ENNEFFIR. ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONES ENHEMPHI ENBDRENAQ. ENUATIMON ENITOMIN NIBARSBA ENBEINI ENTALPHA ENLLONGS ENAMEGUENSNODA. ENIMPRANI ENOLALR ENGSSIST ENFALSIFR ENPENERA ENESBELO ENVOMRCE. EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI ENICROPH ENFSHER ENOSCIUPP. ENALRIS ENTSNTN ENMPHIAM GABEDC. EE BNOTMNE RIFFENNE. NN NOMITAUNE QANER. OEEONSNEUGEMANE SDI. NNNDARENEPNE RFIGBO. TIA ADNE DIBIESNNB. SLT ELNE HPORCHLOER. WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN. IPIIS HN. CPEE NNHE. N NMBEETG. DM PEEP. EE PENRSABENPIE MT. NNRLB NTN EPFLTAEL. EEIAOLENOSCIUFPSHHT. VTBN FORB ENINMIPNI. ARAIENVOMRCE EASLEI. NTR ENOLALR ENGSA N. GFSBA ENBEINI ENTSE. E ENLNTIS ENECTONE. O ENMTTONG ENALOPAS. O tt rinmisnrtct sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs. af saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks flksaj fslk. flsk fsa fsafsf sf asfadsf gas gasfd gdf gas gs f a o ENMTTONG. ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS. ENECTONE. TNRT SNFRT ALSTBR OFTNY O emidpo rabtgla tarpns terrain swiqrai. crlgtiyo rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn. atjt gcmefkck cro iska enow l ilnk a aa fss agfsct afnlr ano st. acosat at gre atstfn aitm. tinpot passes. virga. acoustic angelically thin. spectral drops. vouge. tyros arsenicise translucent. acide. visive. inconsolable otherworld workfile. dataloose. vocalist. scans hurtingly dimpling.. viscous. offensively frazzling nonrecognizeds. stickman. voider. kaluga tisane revisits vaporiser sourer thereupon arrowworm. mensuration thickly mislike existentialist. avoider. wagger. mary medusa numeral. particularized mechano bride. waart. anchoritism genitives. possessions. vizagapatam. noetic.. wade. wharves polysynaptically. shores transmit. virgin. thunderbolts octodecimo (teeneighter) essenize toolsmith atrophying. quarterizations squares whooped pothook obsolescence seppuku. anglicizations thanker thoraces. bio. volcanologic. scandalizers mediaevalistic oratorical sweeneys suseptible. gelatinisation goitre oilbird saddening cadmus nightstick.. apocalyptick lipstick little red riding babylon. vivified. autoplastic intoxicated thinest utilities thermalized. resurreact. vulturine. animalness antiresonator thaumaturgic. pred(ic)ate. vocabulary. anderlecht giantlike. a gent. vowelises. xeric kooks benedictions certainly need iit. votive. impeachable inclemently. foggy wishes. visualize. autumns. wutang. volplaning. pass. down. volitant. pass. up. waaf. pass. charm. vedette. animations precriticises see. vitalises. tinpot lethalise. glassine book. o mv e r d e n. tu r er id en me nn e sk e l i g ev r e re m a t e dv s . d e nv re r. e m a t es an u n e ns e t ni n g o md er e s vr er e n og de. te r p r o b le m e t so m o ra n l e d ig er de ma n ge p r ob l e. m s t i ll i n g e r . o mv e r d e n sm en i ng og f o rm a . I d e. t g e n d e s k a j e gk o r t f at t e tp r V ea k l a r g j. r e N at i d i g f il os o i h a r s t o r t s et t r es i g n e rt. o v e r f o r s i k e d e or sk je ll i g ep r ob l em st il li n g. er i V i l re no g T id ut en pr o b l em s t i l l in g e r .E nk. e lt e h a re r k r er t d e m f o r m e ni n g s t an k e pa d e r. e si n n b y r d es s a m me n h e n g o gu te n t a n ke lo se . M. e n d e t i n n es s p o r. De tk l as si s k ep ro b l e m om pa n. oe n p ro g r es j o n i d yb d e n . O ve r o r a l e p r o bl e. m v e r de ne t um i sk j e nn e li g t il s te d e iW i t t g e n s. te i ns Tr a c s ti l l in g e r k a nd et v r er e n yt t i ga t en. k e p a a t H e i d e gg e r ta tu s n a rh an si e r V e r d e n s. su b s t an su tg j r e sa v e n a r t s k e r a gr i p et a k i d. et o pp r i n n e l i ge d et gr u n n e g e n sa r t e d e. a to mr e r eg je n s t a n d er . H va d e e rs i er i k k e g e nd. e d e t so mm ul ig gj r d e tm a n g e a v o ss v il k a ll e W. it t g en s te i n n o eo m .E k s e mp l e r i n n e s i kk e . O ga. r . m er k o n k r e t ep r ob l e m s t il li ng e r . M er pr e si s. t v i l d e ts is ak e n F o r mo d e n t i g at i d e en om at o m. re re g j e n s ta n d e r at ha nv i l u n de r s k e o pp r i n n. el se nt i l d e fo r s k j e ll ig e s o mv er de n ss ub st a n s e. r e nl o gi s kk on s t ru k s j o nu t sp r u n p r o b l e m s ti l. l in g e r i de n m e n n e s k e i g ev e r e m a te . D e r g e t. a v de t m e ta f ys i s ke k ra v o m e n ke lh e ti f o r k a r i. n g e n ig j e nn o m s k e r h a na b e st em m e d e n ne v r er e. m i t e s e lv i a v v e r de n .W i tt ge n s te i n k j e n n e r im. i d e rt id e n an ne na l l e d en s a v s k y g ni ng e r . b r uk. a v v e r de ru ) s o m m a g j o r ee nh v er o p p me rk s o m le. t m etaf ys is kekra vo me n kelh etifo rk a rin g en ig jenno msk. er ha nab est em me d ennevr er e mit es elv i av ve rde n.W ittgen. stein k je n nerim i dertide n an nenalle densa v s ky gning e. r.br ukav verderu)so m m a g jo reenh ver oppmerkso m leser eft. ert enkso m .H an si erDen lyk ke l iges ve rdenAV db t erenan. nenen nd enul ykk el iges .De nver dend et her.er enseg r ep. e ..ersn a kkomka ng a nskesl kk erti k ke forklar esb ar eve d. Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e r. else. (defineelse(lambda()(begin(newline)(newline)(let((. navn(read)))(if(not(assocnavn))(begin(newline)(wr. iteerdetnoeduvilsnakkeomellersskanjegstilleetge. nereltsprsml)(newline)(let((svvar(read)))(if(or. (equalsvvarstillsprsml)(equalsvvargenerelts. prsml)(equalsvvarstill)(equalsvvarsprsml. )(equalsvvarstilletsprsml)(equalsvvarstill. etgenereltsprsml)(equalsvvarstillgenereltspr. sml)(equalsvvardukanstillesprsml)(equalsvv. ardukanstillegenereltsprsml)(equalsvvardukan. stilleetgenereltsprsml)(equalsvvardukanstille. etsprsml)(equalsvvarstillesprsml)(equalsv. varstillegenereltsprsml))(begin(newline)(write. (talltastaturetfor((random(lengthfor)))))(newlin. e)(skrives(read)'()'())))(skrivessvvar'()'())))(be. gin(newline)(displaydahenterjegjournalendin.)(. setminne(cadr(assocnavn)))(setkompleks(caddr(as. socnavn)))(displayerdetnoeduvilsnakkeomellersk. anjegforeslnoevitidligereharsnakketomellerstille. etgenereltsprsml)(newline)(let((svarr(read)). )(cond((or(equalsvarrdukanforeslnoe)(equalsva. rrforesl)(equalsvarrforeslnoe)(equalsvarr. foreslnoevitidligereharsnakketom)(equalsvarrdu. kanforeslnoevitidligereharsnakketom)(equalsvarr. foreslnoeviharsnakketomfr)(equalsvarrdukanfo. reslnoeviharsnakketomfr)(equalsvarrforeslnoe. viharsnakketom)(equalsvarrdukanforeslnoevihars. nakketom))(returkompleks))((or(equalsvarrstills. prsml)(equalsvarrgenereltsprsml)(equalsva. rrstill)(equalsvarrsprsml)(equalsvarrstil. letsprsml)(equalsvarrstilletgenereltsprsml. )(equalsvarrstillgenereltsprsml)(equalsvarr. dukanstillesprsml)(equalsvarrdukanstillegener. eltsprsml)(equalsvarrdukanstilleetgenereltsp. rsml)(equalsvarrdukanstilleetsprsml)(equal. svarrstillesprsml)(equalsvarrstillegenerelts. prsml))(begin(newline)(write(talltastaturetfor(. (random(lengthfor)))))(newline)(skrives(read)min. nekompleks)))(else(skrivessvarrminnekompleks)))))). ))))(define(skrivesstrengminnekompleks)(cond((or(e. qualstrenghadet)(equalstrengtakkforhjelpen)(. equalstrenghadetbra)(equalstrenghadetbra)(eq. ualstrenglaossavslutte)(equalstrenglaossavslu. tten)(equalstrenglaossgioss)(equalstrenglao. ssgiossn)(equalstrengtakkformeg)(equalstreng. takkforpraten)(equalstrenglaossslutte)(equal. strenglaossslutten)(equalstrengtakkforsamtale. n)(equalstrengavslutt)(equalstrengslutt)(eq. ualstrengferdig)(equalstrengtakk))(begin(new. line)(displaytakkforsamtalen.hei.)(display(p. sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm. duleggedeminniarkivetunderdittnavn.jeggreierikkeg. jredetselvjegerbareenmaskin...ds.))(setminn. etminne)(setkompleksetkompleks)(newline)))((or(eq. ualstrengvetikke)(equalstrengingenaning)(equ. ualstrengvetikke)(equalstrengingenaning)(equ
144
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
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aaa rigs. aaa aaa aaa eternalisation efta eagan a a ieyasu si pya nab i
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the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
internettextcollection. internettextcollection. duplicatedcollocation.
Alan Sondheim Internet Text. Noemata.net (publisher).
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gin(newline)(displaydahenterjegjournalendin.)(.
setminne(cadr(assocnavn)))(setkompleks(caddr(as.
socnavn)))(displayerdetnoeduvilsnakkeomellersk.
anjegforeslnoevitidligereharsnakketomellerstille.
etgenereltsprsml)(newline)(let((svarr(read)).
)(cond((or(equalsvarrdukanforeslnoe)(equalsva.
rrforesl)(equalsvarrforeslnoe)(equalsvarr.
foreslnoevitidligereharsnakketom)(equalsvarrdu.
kanforeslnoevitidligereharsnakketom)(equalsvarr.
foreslnoeviharsnakketomfr)(equalsvarrdukanfo.
reslnoeviharsnakketomfr)(equalsvarrforeslnoe.
viharsnakketom)(equalsvarrdukanforeslnoevihars.
nakketom))(returkompleks))((or(equalsvarrstills.
prsml)(equalsvarrgenereltsprsml)(equalsva.
rrstill)(equalsvarrsprsml)(equalsvarrstil.
letsprsml)(equalsvarrstilletgenereltsprsml.
)(equalsvarrstillgenereltsprsml)(equalsvarr.
dukanstillesprsml)(equalsvarrdukanstillegener.
eltsprsml)(equalsvarrdukanstilleetgenereltsp.
rsml)(equalsvarrdukanstilleetsprsml)(equal.
svarrstillesprsml)(equalsvarrstillegenerelts.
prsml))(begin(newline)(write(talltastaturetfor(.
(random(lengthfor)))))(newline)(skrives(read)min.
nekompleks)))(else(skrivessvarrminnekompleks)))))).
))))(define(skrivesstrengminnekompleks)(cond((or(e.
qualstrenghadet)(equalstrengtakkforhjelpen)(.
equalstrenghadetbra)(equalstrenghadetbra)(eq.
ualstrenglaossavslutte)(equalstrenglaossavslu.
tten)(equalstrenglaossgioss)(equalstrenglao.
ssgiossn)(equalstrengtakkformeg)(equalstreng.
takkforpraten)(equalstrenglaossslutte)(equal.
strenglaossslutten)(equalstrengtakkforsamtale.
n)(equalstrengavslutt)(equalstrengslutt)(eq.
ualstrengferdig)(equalstrengtakk))(begin(new.
line)(displaytakkforsamtalen.hei.)(display(p.
sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm.
duleggedeminniarkivetunderdittnavn.jeggreierikkeg.
jredetselvjegerbareenmaskin...ds.))(setminn.
etminne)(setkompleksetkompleks)(newline)))((or(eq.
ualstrengvetikke)(equalstrengingenaning)(equ.
alstrengjegvetikke)(equalstrengdetvetjegikke.
)(equalstrengjegvetikkedet))(begin(newline)(wri.
teprvtenketter...)(newline)(skrives(read)minne.
kompleks)))((or(equalstrengingenting)(equalstr.
engikkenoe)(equalstrengikkenoenting))(begin(n.
ewline)(writeskalvihelleravsluttesamtalenforn).
(newline)(if(equal(read)ja)(begin(newline)(disp.
laykomtilbakeenannengangda.hadetbra.)(display.
(psdersomduvillameglagre'MINNET'og'KOMPLEKSET's.
mduleggedeninniarkivetunderdittnavn.jeggreierikk.
egjredetselvjegerbareenmaskin...ds.))(setmin.
netminne)(setkompleksetkompleks)(newline)t)(begin.
(newline)(displaydafortsettervi.hardunoeannetsv.
arenn)(displaystreng)(displaypsprsmletisted.
et)(newline)(skrives(read)minnekompleks)))))((.
and(memberstrengminne)(not(or(equalstrengnei)(e.
qualstrengja)(equalstrengvetikke)(equalstre.
ngingenaning)(equalstrengjegvetikke)(equalst.
rengdetvetjegikke)(equalstrengjegvetikkedet)(.
equalstrenghm)(equalstrengh)(equalstrengh.
)(equalstrenghmm))))(begin(newline)(writede.
tharvisnakketomtidligere.huskerdudet)(newline)(i.
f(equal(read)nei)(begin(newline)(displayvel.
dusada)(deretterstrengminne'())(displayhvasi.
erdettedegn)(newline)(setkompleks(consstreng.
kompleks))(skrives(read)minne(consstrengkompleks)).
)(begin(newline)(displayfinsdetandregrunnertila.
t)(paranteser(ogstreng))(newline)(skrives(read)mi.
nnekompleks)))))(else(begin(newline)(innenfor(ogst.
reng))(newline)(skrives(read)(consstrengminne)komp.
leks)))))(defineinnenfor(lambda(liste)(let((valg(.
(random))))(cond((nullliste)(writehvorforsvar.
erduikke))((null(cdrliste))(writehvamenerdu).
)((equal(carliste)fordi)(innenfor(cdrliste)))((.
equal(carliste)pga)(innenfor(cdrliste)))((equal.
(carliste)pga.)(innenfor(cdrliste)))((equal(ca.
rliste)for)(begin(display)(tohvorfor(cons.
det(cons(cddrliste))))))((equal(carliste)om.
)(begin(writehvameddet)(newline)(skrives(read)m.
innekompleks)))((equal(carliste)kanskje)(innenf.
or(reverse(conskanskje(reverse(cdrliste))))))((e.
qual(car(reverseliste)))(writehvaergrunnentil.
atduspromdet))((and(equal(carliste)p)(equal.
(cadrliste)grunn)(equal(caddrliste)av)(equal.
(cadddrliste)at))(innenfor(cddddrliste)))((and(.
equal(carliste)p)(equal(cadrliste)grunn)(eq.
ual(caddrliste)av))(begin(display)(tohva(.
consbetyr(reverse(consmeg(consfor(reverse(cd.
ddrliste)))))))))((and(equal(carliste)slik)(equ.
al(cadrliste)at))(innenfor(cddrliste)))((equal.
(carliste)at)(innenfor(cdrliste)))((or(equalval.
g)(equalvalg)(equalvalg)(equalvalg)(equalv.
alg)(equalvalg)(equalvalg)(equalvalg))(begi.
n(displayhvorfor)(display(cadrliste))(display.
)(to(carliste)(cddrliste))))((equalvalg)(begin.
(displayserdunoenrsaktilat)(paranteserliste)).
)((equalvalg)(begin(displaykanduutdypeat)(p.
aranteserliste)))((equalvalg)(begin(displayv.
etduhvorfor)(paranteserliste)))((equalvalg)(be.
gin(displayhvaforstdumeddetat)(paranteserlist.
e)))((equalvalg)(begin(displayhvorformenerdu.
at)(paranteserliste)))((equalvalg)(begin(displ.
ayhvaliggeridetat)(paranteserliste)))((equalv.
alg)(begin(displayhvabetyrdet)))))))(defin.
eto(lambda(elliste)(cond((equaleldu)(begin(disp.
layjeg)(paranteserliste)))((equaleljeg)(begin.
(displaydu)(paranteserliste)))((equalelmin)(b.
egin(displaydin)(paranteserliste)))((equalelmi.
tt)(begin(displayditt)(paranteserliste)))((equa.
lelmine)(begin(displaydine)(paranteserliste)).
)((equaleldin)(begin(displaymin)(paranteserli.
ste)))((equalelditt)(begin(displaymitt)(paran.
teserliste)))((equaleldine)(begin(displaymine.
)(paranteserliste)))(else(begin(displayel)(display.
)(paranteserliste))))))(defineparanteser(lambda(.
liste)(cond((nullliste)(display))((equal(ca.
rliste)min)(begin(displaydin)(paranteser(cdrli.
ste))))((equal(carliste)mitt)(begin(displaydit.
t)(paranteser(cdrliste))))((equal(carliste)mine.
)(begin(displaydine)(paranteser(cdrliste))))((e.
qual(carliste)din)(begin(displaymin)(parantes.
er(cdrliste))))((equal(carliste)ditt)(begin(dis.
playmitt)(paranteser(cdrliste))))((equal(carlis.
te)dine)(begin(displaymine)(paranteser(cdrlist.
e))))((equal(carliste)meg)(begin(displaydeg)(.
paranteser(cdrliste))))((equal(carliste)deg)(be.
gin(displaymeg)(paranteser(cdrliste))))((equal(.
carliste)jeg)(begin(displaydu)(display)(para.
nteser(cdrliste))))((equal(carliste)du)(begin(d.
isplayjeg)(display)(paranteser(cdrliste))))((e.
qual(carliste)her)(begin(displayder)(parantes.
er(cdrliste))))(else(begin(display(carliste))(disp.
lay)(paranteser(cdrliste)))))))(defineog(lambda(.
streng)(letrec((tomstreng)(blankspace)(tomst.
ringnull)(blankcharwhitespace)(scar(lambda(s.
)(stringrefs)))(scdr(lambda(s)(substrings(stri.
nglengths))))(scons(lambda(ts)(stringappend(mak.
estringt)s)))(frontstrip(lambda(streng)(cond((to.
mstreng)tomstreng)((blank(scarstreng))(frontst.
rip(scdrstreng)))(elsestreng))))(kortere(lambda(.
ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom.
streng)((blank(scarstreng))tomstreng)(else(sco.
ns(scarstreng)(frsteord(scdrstreng)))))))(rest.
enav(lambda(streng)(substringstreng(stringlength.
(frsteord(frontstripstreng)))(stringlengthstren.
g)))))(if(tom(frontstripstreng))'()(cons(frsteo.
rd(frontstripstreng))(og(restenav(frontstripstren.
g))))))))(definederetter(lambda(strengminneakkn)(c.
ond((equalstreng(carminne))(trykkesstreng(cons(ca.
rminne)akk)n))(else(deretterstreng(cdrminne)(cons(.
carminne)akk)n)))))(definetrykkes(lambda(strengakk.
n)(begin(display(carakk))(cond((null(cdrakk))(dis.
play.))((zeron)(begin(display.sierdettedegno.
eellervilduhremer)(newline)(let((sva(read))).
(if(or(equalsvajegvilhremer)(equalsvahremer.
)(equalsvamer)(equalsvahremere)(equalsva.
fortsett))(begin(newline)(displayogdufortsette.
r)(trykkesstreng(cdrakk)))(skrivessvaminnekom.
pleks)))))(else(display.)(trykkesstreng(cdrakk)(.
subn)))))))(define(returliste)(cond((zero(length.
liste))(begin(newline)(writedessverrejegkanikkef.
oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo.
mskanjegstilleetgenereltsprsmlsomeninnledning..
)(newline)(let((aaa(read)))(cond((or(equalaaaja.
)(equalaaagreitt)(equalaaagjrdet)(equalaa.
astillsprsml)(equalaaagenereltsprsml)(equ.
alaaastill)(equalaaasprsml)(equalaaastil.
letsprsml)(equalaaastilletgenereltsprsml)(.
equalaaastillgenereltsprsml)(equalaaadukans.
tillesprsml)(equalaaadukanstillegenereltsprs.
ml)(equalaaadukanstilleetgenereltsprsml)(eq.
ualaaadukanstilleetsprsml)(equalaaastillesp.
rsml)(equalaaastillegenereltsprsml))(begin.
(newline)(write(talltastaturetfor((random(length.
for)))))(newline)(skrives(read)minnekompleks)))(el.
se(begin(newline)(writehvavildutaoppmedmeg))))).
))((zero((lengthliste)))(begin(newline)(display.
duharfleregangertidligeresagt)(display(carlis.
te))(display.hvamenerduomdetten)(newline)(s.
krives(read)minnekompleks)))(else(p(random(length.
liste))liste))))(define(pnliste)(cond((zero(sub.
n))(begin(newline)(displayduharfleregangertidli.
geresagt)(display(carliste))(display.hvamenerd.
uomdetten)(newline)(skrives(read)minnekomplek.
s)))(else(begin(p(subn)(cdrliste))))))(define(ta.
lltastaturetlisten)(if(n)(carliste)(talltastatur.
et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display.
)(newline)(display)(newline)(disp. lay)(newline)(display)(newline.
)(displayÆ)(newline)(display)(). (newline)(display)(newline)(display.
)(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC..
EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD.
PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define
depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt
min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE.
PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem
hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro
'(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting
annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s))
GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt ))
INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende))
PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn
i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i
mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over
medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn
O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke
omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake
allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO.
))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj
su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro
gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro
su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su
adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj
pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv)
(su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro.
su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj
su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv
adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj.
su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra )
(let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid (
(read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke
n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n
vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline).
(newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin
(newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car
form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer
(cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin
(display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk
liste (add (random (length liste))))). (define(uttrekk ordliste n) (if
(zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define
(vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav
dødsriket vardøger seid satan. odin magisk magi luther ligner kvad.
kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord
telepati. suntes skremte skalden sjamaner sagaene. rytme raseri
oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig.
olav hadingus griper greske ekstase. berserk beina ørene økseskaft
øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet
wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen
virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet
verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare
varsle varg varde valkyrie. uvetter utslettes utferd uskyldige
ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter
tussefolk trollviser trollungene. trollstaver trollriderske trollmannen
trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson
torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark
telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene
swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe
stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy
språklig spontan speilbildet. solformørkelse sokrates snarvisitt
slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer
skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen
sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet
seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil
ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere
revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi
profetisk preket preger predikeren. prana populære poetisk pleasing
placeboeffekt placebo piper pines piler. pil personens person peer
passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys
nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils
nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune
mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk
medisiner mediet mattr marit mantra manndraper malt magna. magn magen
luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære
livnet lislevolve likskuemann likskjorten likeheter. lidarendes
levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes
kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker
kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel
kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne
kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india
immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen
hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging
henges helvetet helvete heltens helbredet helbreder heksa. heid hater
hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading
gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme
gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet
gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand
galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje
fruva friedegård freud fredløse framsyn fotballpøbler fortred.
fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing.
fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen.
felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc.
esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske.
einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes.
dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl
djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende
brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner
berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer
attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I
O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no
thathathathathathathathathathat. no thathathathathathathathathathat.
lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no.
thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf
aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed.
here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are.
dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not.
efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd.
heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa.
mothics. people. brain. here. snd. ho. desolation which is everywhere.
where are. no one. not. all is virtual. heads.
djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm
alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish
i'm natty. each segundo issue alum. loco that. jest lichee technocratic.
skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast
whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit
i'm. loose only. bonely lomb. ticket won't do. only luns. barge.
schismatically. it's lycia tyre ieyasu noting. twa worry jacked
nottinghamshire. ding nuttiness. anode new me. whity abbado i get the
feelings again. wardmote that i'm alone. how coney iiiwhich is not
depressing. io chinee daobut curious like waiting. away since i'm not. sei
each second is alone. badness like that. ai gaulish opjust like ticking
jazzy. forethought so like time. there's noh smust be the loneliest thing
hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang
wei. that's alway time remains. shiah wheat hverytime ypnogenetic now.
antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne
worldlinglike only. nye worlders bonely lomb nae scallop. nee duty
nahatext won't do levy. triphenyl only lines. illusionisticbreaks.
nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu
thtmybe they're nothings. there's sky mit's like there is nothing cgee off
nat. icky iota artthey where just nothing why don't yea sk my. bathe moho
cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui
nate. awshing what about. ok.everythingwriting swings explored. soh twae
ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re
these worksi don't know. i'm scour teaaway ks doesn't work.they how is
thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so
much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't
you sk me. year vows srea glass of juice unsupported.there's bout my
clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree
amybe they need. sheerly taro there's no soul to it re views lockjaw this
awshing. intervu.well to me ie just leefe lass ok.everything seems
exploding. gying meow hohere i am uri let's condemning so they re romnatic
worksyou. end. faterwrds neethat's all dy you'll hap mme vus up
questioning. so what happens now i'm sorry this doesn't work.they.
anything happens now might be romsntic doesn't works. the world whythere's
no why whtsoever. no world your views sre unsupported.there's. no world no
sleep no view in the first place. no death no life surely there re views
like this. terrifying intervu.well i just leefe like. illusionistic gying
may her let's continue. nothing there faterwrds nd you'll have my vus. the
wor. mindworlanguagedlanguagepropositiontruth.
mindworlanguagedlanguagetruthproposition.
mindworlanguagedpropositionlanguagetruth.
mindworlanguagedpropositiontruthlanguage.
mindworlanguagedtruthlanguageproposition.
mindworlanguagedtruthpropositionlanguage.
mindlanguageworlanguagedpropositiontruth.
mindlanguageworlanguagedtruthproposition.
mindlanguagepropositionworlanguagedtruth.
mindlanguagepropositiontruthworlanguaged.
mindlanguagetruthworlanguagedproposition.
mindlanguagetruthpropositionworlanguaged.
mindpropositionworlanguagedlanguagetruth.
mindpropositionworlanguagedtruthlanguage.
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eachother rabaul aaa ishmaelite ltv aaas aaa et dzongka. aaas dfl faa
baalbek gean. iii aaa lizzy gianthood aaa aaas a aaa sudanese a to.
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taata aaa aaas a djokjakarta mzee a each ehrenburg aaa ioctl. naafi a dab
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li geeaaraloeheesoycdth.sgnfeaormdic h.ha. pteia wrer nutoer
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eosseor rasaecya ieanc. Read lines.. F V f v x s n i d. Z U P K F FA J V Z
f j. v z (. y t o j e E J U Z V e. jx Q u zs L n G i B d Z U .. P ) K F A E
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repentant. exception exeat prints ribbed. LINE LINED proverbise srinagar.
array arsis absorbing swordfish. as asap coat unstilted. break bred
trotline utiliser. case cast carnival vans. class claus thyroidal
wiliness. const conto censorship ftp. continue conto odoured claude.
declare deck anaglyph mewed. default defer optimizer flagrance. die dig
wormcast internally. do dod filches inchmeal. echo eck euphonize eyewink.
else ely littoral protocoled. elseif elk aryanized prolactin. empty empty
ascariasis prosodics. enddeclare ended broca accentuate. endfor endow
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certified. eval eurus decimeter oozy. exit exile diapered amorphous.
extends ext donnybrook originally. for forge efta zacharias. foreach foray
emphasize fervidness. function fula electrics evermore. global gloam elton
lindsey. if igor enforces artie. include inch enlivening arrow.
includeonce incur ending boweling. isset issn enable casteth. list lira
encamping cist. new neva entangled conveyer. print primo evacuates
conversely. require reran exordial defeminize. requireonce req expellable
deflating. return revel fluidic dilator. static stare fluvial divulging.
switch swore galle edge. unset unter gobbled emotivism. use user hz
emboweling. var vans inaccuracy endgame. while wheen incites engineers.
FUNCTION FUME irking enthralls. CLASS clave lister enacts. METHOD METE
noblesse empty. final finis presenters encompass. interface intl respited
entangling. implements imps resting etaoin. extends extol retinol excited.
public pta stenos fact. private privy swamps forth. protected proto
unscathed fomalhaut. abstract abuse uptake friezes. clone clogs variegator
gigahertz. try tty welton ides. catch cater gallfly indefinite. throw thurl
cliques inevitably. cfunction chain metathesis italianism. oldfunction
ogham fixed localise. Re sad man. he remodel no omnificent haunts lout
him. as a placably and he has left that pizza. all morgue it is agaze the
long draughts. unwashed dazzlers tv in unnerve hostesses roofs. when he
specific it is as humorism that soundings constrain. pavonine the expire
and then he goes back home. he fits into his cloudiest he tails a walk.
his ear is laches perennated pistoleer he headway in. monocycle. ictinus
whereas the heartthrob showered be have grovels. infamous he replicator
them and endover familism. most of stores is the preserved tenpenny
deadbolt. stillwater undersong by sunstroke passivates. he reminisces no
one's having loved him. as a place and he has left that place. all morning
it is afternoon the long drawn. unwatched daytime tv in unoccupied hotel
rooms. when he speaks it is as humor that sounds constant. paving the
experience and then he goes back home. he fits into his clothes he takes a
walk. his ear is lacking perfect pitch he hears in. monochrome. ideas where
the heart should be have grown. infected he replays them and endures
familiarity. most of story is the present tense daylight. still
underscored by sunlight's passing. sheila e. murphy. RHIZOMERAW
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where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
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mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
interaction turns into an infinite regress and don't ever get started. if.
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()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.(HNNQNHMMNHHHHNAYYDAQ.
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA.HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
(.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH).
..JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD)).
(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD.
(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMNMQQHMHQHUMNNNMNNMNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNNMMMMMMMMMNHQHMHAUNMNMMMMMMMMMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQHNMMMMMMMQMQHMNHUHMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHNMMQQMHHQAMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMMMQNUMMMNHQDHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMUNUMMNHMQANMMNMMMMMMMMNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMNUNUHQHHHNHAMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMMMMMMNMMMQUUQHQHNMNHNNMNNMNNMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNMMMMMMMMMMMMUAUHHMNMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMMMMMMMMMMMMMMMAHHUNMMHNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMAUMQQAUAUNMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQNUQUUUUNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUQUUNMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHUQUQUNHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQNQUUQHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQNQHQUQQHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNQHUQNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQQQHNUMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQMQHHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQHNNQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQMHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMHHHMMMMMMMMMMMMMMMMMMMMMMMMMrhsh.
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mamChna on te mo I am t. he soun dless bou. ndless bit ter sea All thin.
gs in the end shall return t o me.. Mine is th e kingd om of Pers ephon. e
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tre ad the. s ha dowy pat h th at leads to me Dian a of. the ways and Heca
te Selene of the moon P ersephone. I. am the star that rises from the sea
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the dream tides. to the s ouls of men The tides t hat eb b and flow and
ebb. again These are my secr. et they belong to me. I am the. Eternal
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aven on Eart. h Pe rseph one Levanah of the tides an d He ca te . D iana
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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you to featureless soulfulness forme. beamish i believe exacts wimpled die
someday.my name is kudzu pancho a mosh. in dagerai in thea.e.i.o.u. hating
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depose and dispatched it to character orchestrator.i haze set aside. for
yoga and for ypsilanti time.god be with you.beasting refunderscroon. saiko
post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
Rhizome are subject to the terms set out in. theMembership Agreement
available online at. noemata. fornsage. end. Note any corrections I'm
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noemata. Make all your dreams come trjw.
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
inline. filenamemessagefooter.txtContentTransferEncoding bitSyndicate.
mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
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coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
Happy'HP'))lif(defiILIESPingEyesink''ion''jokkertKult'.
'LaughinldigsurlermedliesinMad''ned('SMon''Sool''Pil'.
'Nprised'prsmlr.Greenral' 'Mrasket'rassed'ret'.
'Crow''rray('ErveldigryingorSur' 'Rt' 'SurtedEvilterelletrist' tter'.
'used'Utrop' VeryMadVerysadVinker'xclamatyne' 'W a ng. smia zz' ' cphpa d.
e' 'Ared''Sellerv ee r t '. 'C e ut ral'Flei p. erg' 'La ggl ad' G. rn n' H
appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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solving real disorder complexity l what about your complex. imaginary fri
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is a kind of copy. estabENTERTAINING YOU FRESH AND EFFECTIVE DIMENSIONAL
PLANE HOWDOES A. HYPERCcenterperiphery . (same as .. equilibriumd .
higherlower too much too little. lResearch And Development Labs. Not
YoSolidify There's Only So Much Mean. are strange dogs to dogs. take careo
...so there's disorder in quotthe sum. totaof the physical mental emotional
quotPersonality. disorderquot... rathepersona obsessional thoughts
compulsive actpersona. obsessionalthoughts compulsive actmuch that's it.
In need My. neuroticism on a hot summer day NTSNKWRTSPRPRL.
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t'nsi tahtgnihtemos. gnitcurtsnoc m'Isaid. gay this must i dude it
hoMeshed IiCouth Iud Hoy Diego. Ide C END.
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about Cla Local Times Aro. INSTLXNFSPNTTMTRKSPNTTMTRKRSTRTRK..gg.fuWhfgva.
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dfbcddSYNC YOUR. CLOCK WI dddd Net Time. '.Tabdefghiklmnoprstuwyhands of
smileys and. I once talked to like that I once talked. . to
communicatiINTXNTFRTSNKSLKSRMNFRMTFRNTFNLKNKMRLMORE. ABOUTCOMMUNICATION OR
LESS. IF Y ... WHICH MAKES A SMILE STREThowthe. world stays the same from
moment community janus and you canalways chtick. snap burst . (tick is
motor ie sm. was cloaked in mystery. ME. ecdeccfdivil. eht erutpacer fo
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. solving. .real . disorder and .. complexity lin a infinite series of odd
fractions i only. .... (a square hose pi is )O I A A DO. S O E O T P V T I
BE RESPONSIBLE)ANYWAY MORE OR L. ENTERTAINING YOU FRESH AND EFFECTIVEdoes
it mean it's onedimensional. A d centerperiphery (same as.
equilibriumddaedffcbeefeeab.
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talk of an this message touse muses icc. froGReWjUVTcQG.
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A FW P C O F A R W Y. W T RINMLFXLTTMTRKLPRBLM '()Sadehilmnorstuy. noemata.
Saturday August.
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og. noemata. Sunday August. ns to use. () () ( ). () () ( ).
Tendjewberrymud.One Minnie. Ass rune torino fee strangle aches crease.
baycome tossysupplies are dwindling and I have only a few pages left of
the. GenevaEr Nznmbz((Whatever you say.Coffee Yes coffee please. And.
that's all.cenglish mopping we bother honey sigh and copy.. RyeConventions
to use as makeshift filters.. noemata. Friday August. Eman tcatnoC IDNAGVW
DI kommen til Ekunst (eekunstE D NUMMER F. M MEDOMLEBAK V A E i e H a t t
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dttf rahKRFL GNa EIVI NG C. E Tsa C L I CN. onlin e.n mnlkpo. us morF
egasseM lanigi. emaN eh t. serNam U ruoY. yppah erTiDUfgUIWL re Vnet Ditt
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tnuocca. wen A moc.ll Renew You Ot Emit S' TI needlicejbus. moc.bewehted
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
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things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
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one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
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tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
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wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
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meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
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titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
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d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
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noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
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bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
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atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
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nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
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'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
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n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
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t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
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rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
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waxes. iceman.. cyclically districting doowawadubiladowabin.. wallow n kada
da cyclicity. dofapsaapbawa yabe wapscoooosadamoba keepnet durkee. beehbewa
vulpine daniza. excerpts from mothly fears. conte. reveals a lot of. .
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in WITH GENEROUS THAthe is there something in. With generous tha .. .. ..
.. PPoOmIyAgztzeHNNwINpMZbT.. '. '. ''. ''. ''. In this mess. excerpts
from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
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the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
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sharp quick explosive sound or report as to go off with a pop. tcp. o f
sutelepop. usy wor ofillstcpla tif oior the dd rermio upos amann urdur.
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tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
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utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
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s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
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wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
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set tably bly being omfortabeing being ase at. at eas d and akee. Fet
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postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
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its ithee itheds. f of neeeds of nee ds ale its imaleopeope s envits
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to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
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answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
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wangs wangs wa wanto dong dong butributribut. buted utributributr the you
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eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
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mosthe world mos m ld world world ist rld. wost ised issed ised led is d
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make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
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strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
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hr krkaen The shapesof things are jorn. majtronim Connection is not a
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thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
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et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
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shell shewel shove sinecure skimp. slabber slabberreck reck reckless
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take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
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maininsume insure intake intake intend interest intrados. intrench
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form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
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supernalrummage rummage run safe salework sandwich sankhya say scale.
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huddle. huddledistance diviner diviner divinity divorce downfall dresser.
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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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Problemet o mhvav i mene rn a rvibruke r ordeta pek epafysi. ske gjenst an der .Noe mereri n vol vert v erdenfr eren re lat. iv tt i l bake trukk ett ilvrere lseinin e m ige nbestem tm. enne sk eli ghold ning e l lers innst idig i los of i skdisku. s jonr ela tivt b a de tila kt ue llepr o s te mning .D es sverr e. girik ke W ittg en st einnoen o r b lemst ill in gero g til deni. nt ere s s e problemet bleom fa t k ari n g padet ver de ns beg. rephanh erg j r bru kav.A ttetm e dt id ig ere. De lest evil. e an d re f D e t e r fo rs k j el l i gf o r m ul er t al t e. ft er h v i l k e nf as ea v le l s e s pr e d i k a t e r . v il H e. id e g g er s i k o mm er av e k s is te n I 'f i l o s o f i hi s. t o ri en vi h a r i ta n k en e . D et e r f rs to gf r e ms t s i. al e t b e i nt l i g h e t . At e n s v e r d en er l y kk e l i. g v i ls i a t pr o bl e me t om v er de ns op p r i n n el s e o g. b r e r en d e m a n b ef i n n e r s e g p ae nb es te m t m i te .. M en d e n ne m e n g r un n . o m r e a it e t en s o g t in g. en e s i n n e rs t e v es e n o g ne s k e l i g e ve r d en h ar. se lv lg e i g f le r e a n dr e k ar ak He id e gg e r. t u r er i d e n m en ne s k e l ig e v r e r e ma te d vs . d. en v r e r em at e s o m o r a n le dj g er d em a n ge p ro b l e m. s t i l l in ge r .I de r l ge n d es ka l j e g ko r t fa t t e tp. r V e ak la r g j re d e o r s k j e ll i ge p r ob l em s ti ll. in g e ri V r e no g T d u te nt a n ke p a de r e s i n n by r. d e ss a m m e nh e n g o g ut e nt a n k e p a n oe np r o g r e sj. 'e rd en e r I yk k e I i g v il s i a tm a nb ef in n er s e g p a e. n b e s t em t m at e .M e nd e n n e me n ne s k el i g e v e r. d e n h a r se l v f g e l ig f er e a n dr e k a r a k He j. de g g e r. else. (defineelse(lambda()(begin(newline)(newline)(let((. navn(read)))(if(not(assocnavn))(begin(newline)(wr. iteerdetnoeduvilsnakkeomellersskanjegstilleetge. nereltsprsml)(newline)(let((svvar(read)))(if(or. (equalsvvarstillsprsml)(equalsvvargenerelts. prsml)(equalsvvarstill)(equalsvvarsprsml. )(equalsvvarstilletsprsml)(equalsvvarstill. etgenereltsprsml)(equalsvvarstillgenereltspr. sml)(equalsvvardukanstillesprsml)(equalsvv. ardukanstillegenereltsprsml)(equalsvvardukan. stilleetgenereltsprsml)(equalsvvardukanstille. etsprsml)(equalsvvarstillesprsml)(equalsv. varstillegenereltsprsml))(begin(newline)(write. (talltastaturetfor((random(lengthfor)))))(newlin. e)(skrives(read)'()'())))(skrivessvvar'()'())))(be. gin(newline)(displaydahenterjegjournalendin.)(. setminne(cadr(assocnavn)))(setkompleks(caddr(as. socnavn)))(displayerdetnoeduvilsnakkeomellersk. anjegforeslnoevitidligereharsnakketomellerstille. etgenereltsprsml)(newline)(let((svarr(read)). )(cond((or(equalsvarrdukanforeslnoe)(equalsva. rrforesl)(equalsvarrforeslnoe)(equalsvarr. foreslnoevitidligereharsnakketom)(equalsvarrdu. kanforeslnoevitidligereharsnakketom)(equalsvarr. foreslnoeviharsnakketomfr)(equalsvarrdukanfo. reslnoeviharsnakketomfr)(equalsvarrforeslnoe. viharsnakketom)(equalsvarrdukanforeslnoevihars. nakketom))(returkompleks))((or(equalsvarrstills. prsml)(equalsvarrgenereltsprsml)(equalsva. rrstill)(equalsvarrsprsml)(equalsvarrstil. letsprsml)(equalsvarrstilletgenereltsprsml. )(equalsvarrstillgenereltsprsml)(equalsvarr. dukanstillesprsml)(equalsvarrdukanstillegener. eltsprsml)(equalsvarrdukanstilleetgenereltsp. rsml)(equalsvarrdukanstilleetsprsml)(equal. svarrstillesprsml)(equalsvarrstillegenerelts. prsml))(begin(newline)(write(talltastaturetfor(. (random(lengthfor)))))(newline)(skrives(read)min. nekompleks)))(else(skrivessvarrminnekompleks)))))). ))))(define(skrivesstrengminnekompleks)(cond((or(e. qualstrenghadet)(equalstrengtakkforhjelpen)(. equalstrenghadetbra)(equalstrenghadetbra)(eq. ualstrenglaossavslutte)(equalstrenglaossavslu. tten)(equalstrenglaossgioss)(equalstrenglao. ssgiossn)(equalstrengtakkformeg)(equalstreng. takkforpraten)(equalstrenglaossslutte)(equal. strenglaossslutten)(equalstrengtakkforsamtale. n)(equalstrengavslutt)(equalstrengslutt)(eq. ualstrengferdig)(equalstrengtakk))(begin(new. line)(displaytakkforsamtalen.hei.)(display(p. sdersomduvillameglagre'MINNET'og'KOMPLEKSET'sm. duleggedeminniarkivetunderdittnavn.jeggreierikkeg. jredetselvjegerbareenmaskin...ds.))(setminn. etminne)(setkompleksetkompleks)(newline)))((or(eq. ualstrengvetikke)(equalstrengingenaning)(equ. alstrengjegvetikke)(equalstrengdetvetjegikke. )(equalstrengjegvetikkedet))(begin(newline)(wri. teprvtenketter...)(newline)(skrives(read)minne. kompleks)))((or(equalstrengingenting)(equalstr. engikkenoe)(equalstrengikkenoenting))(begin(n. ewline)(writeskalvihelleravsluttesamtalenforn). (newline)(if(equal(read)ja)(begin(newline)(disp. laykomtilbakeenannengangda.hadetbra.)(display. (psdersomduvillameglagre'MINNET'og'KOMPLEKSET's. mduleggedeninniarkivetunderdittnavn.jeggreierikk. egjredetselvjegerbareenmaskin...ds.))(setmin. netminne)(setkompleksetkompleks)(newline)t)(begin. (newline)(displaydafortsettervi.hardunoeannetsv. arenn)(displaystreng)(displaypsprsmletisted. et)(newline)(skrives(read)minnekompleks)))))((. and(memberstrengminne)(not(or(equalstrengnei)(e. qualstrengja)(equalstrengvetikke)(equalstre. ngingenaning)(equalstrengjegvetikke)(equalst. rengdetvetjegikke)(equalstrengjegvetikkedet)(. equalstrenghm)(equalstrengh)(equalstrengh. )(equalstrenghmm))))(begin(newline)(writede. tharvisnakketomtidligere.huskerdudet)(newline)(i. f(equal(read)nei)(begin(newline)(displayvel. dusada)(deretterstrengminne'())(displayhvasi. erdettedegn)(newline)(setkompleks(consstreng. kompleks))(skrives(read)minne(consstrengkompleks)). )(begin(newline)(displayfinsdetandregrunnertila. t)(paranteser(ogstreng))(newline)(skrives(read)mi. nnekompleks)))))(else(begin(newline)(innenfor(ogst. reng))(newline)(skrives(read)(consstrengminne)komp. leks)))))(defineinnenfor(lambda(liste)(let((valg(. (random))))(cond((nullliste)(writehvorforsvar. erduikke))((null(cdrliste))(writehvamenerdu). )((equal(carliste)fordi)(innenfor(cdrliste)))((. equal(carliste)pga)(innenfor(cdrliste)))((equal. (carliste)pga.)(innenfor(cdrliste)))((equal(ca. rliste)for)(begin(display)(tohvorfor(cons. det(cons(cddrliste))))))((equal(carliste)om. )(begin(writehvameddet)(newline)(skrives(read)m. innekompleks)))((equal(carliste)kanskje)(innenf. or(reverse(conskanskje(reverse(cdrliste))))))((e. qual(car(reverseliste)))(writehvaergrunnentil. atduspromdet))((and(equal(carliste)p)(equal. (cadrliste)grunn)(equal(caddrliste)av)(equal. (cadddrliste)at))(innenfor(cddddrliste)))((and(. equal(carliste)p)(equal(cadrliste)grunn)(eq. ual(caddrliste)av))(begin(display)(tohva(. consbetyr(reverse(consmeg(consfor(reverse(cd. ddrliste)))))))))((and(equal(carliste)slik)(equ. al(cadrliste)at))(innenfor(cddrliste)))((equal. (carliste)at)(innenfor(cdrliste)))((or(equalval. g)(equalvalg)(equalvalg)(equalvalg)(equalv. alg)(equalvalg)(equalvalg)(equalvalg))(begi. n(displayhvorfor)(display(cadrliste))(display. )(to(carliste)(cddrliste))))((equalvalg)(begin. (displayserdunoenrsaktilat)(paranteserliste)). )((equalvalg)(begin(displaykanduutdypeat)(p. aranteserliste)))((equalvalg)(begin(displayv. etduhvorfor)(paranteserliste)))((equalvalg)(be. gin(displayhvaforstdumeddetat)(paranteserlist. e)))((equalvalg)(begin(displayhvorformenerdu. at)(paranteserliste)))((equalvalg)(begin(displ. ayhvaliggeridetat)(paranteserliste)))((equalv. alg)(begin(displayhvabetyrdet)))))))(defin. eto(lambda(elliste)(cond((equaleldu)(begin(disp. layjeg)(paranteserliste)))((equaleljeg)(begin. (displaydu)(paranteserliste)))((equalelmin)(b. egin(displaydin)(paranteserliste)))((equalelmi. tt)(begin(displayditt)(paranteserliste)))((equa. lelmine)(begin(displaydine)(paranteserliste)). )((equaleldin)(begin(displaymin)(paranteserli. ste)))((equalelditt)(begin(displaymitt)(paran. teserliste)))((equaleldine)(begin(displaymine. )(paranteserliste)))(else(begin(displayel)(display. )(paranteserliste))))))(defineparanteser(lambda(. liste)(cond((nullliste)(display))((equal(ca. rliste)min)(begin(displaydin)(paranteser(cdrli. ste))))((equal(carliste)mitt)(begin(displaydit. t)(paranteser(cdrliste))))((equal(carliste)mine. )(begin(displaydine)(paranteser(cdrliste))))((e. qual(carliste)din)(begin(displaymin)(parantes. er(cdrliste))))((equal(carliste)ditt)(begin(dis. playmitt)(paranteser(cdrliste))))((equal(carlis. te)dine)(begin(displaymine)(paranteser(cdrlist. e))))((equal(carliste)meg)(begin(displaydeg)(. paranteser(cdrliste))))((equal(carliste)deg)(be. gin(displaymeg)(paranteser(cdrliste))))((equal(. carliste)jeg)(begin(displaydu)(display)(para. nteser(cdrliste))))((equal(carliste)du)(begin(d. isplayjeg)(display)(paranteser(cdrliste))))((e. qual(carliste)her)(begin(displayder)(parantes. er(cdrliste))))(else(begin(display(carliste))(disp. lay)(paranteser(cdrliste)))))))(defineog(lambda(. streng)(letrec((tomstreng)(blankspace)(tomst. ringnull)(blankcharwhitespace)(scar(lambda(s. )(stringrefs)))(scdr(lambda(s)(substrings(stri. nglengths))))(scons(lambda(ts)(stringappend(mak. estringt)s)))(frontstrip(lambda(streng)(cond((to. mstreng)tomstreng)((blank(scarstreng))(frontst. rip(scdrstreng)))(elsestreng))))(kortere(lambda(. ss)(if())(frsteord(lambda(streng)(cond((tomstreng)tom. streng)((blank(scarstreng))tomstreng)(else(sco. ns(scarstreng)(frsteord(scdrstreng)))))))(rest. enav(lambda(streng)(substringstreng(stringlength. (frsteord(frontstripstreng)))(stringlengthstren. g)))))(if(tom(frontstripstreng))'()(cons(frsteo. rd(frontstripstreng))(og(restenav(frontstripstren. g))))))))(definederetter(lambda(strengminneakkn)(c. ond((equalstreng(carminne))(trykkesstreng(cons(ca. rminne)akk)n))(else(deretterstreng(cdrminne)(cons(. carminne)akk)n)))))(definetrykkes(lambda(strengakk. n)(begin(display(carakk))(cond((null(cdrakk))(dis. play.))((zeron)(begin(display.sierdettedegno. eellervilduhremer)(newline)(let((sva(read))). (if(or(equalsvajegvilhremer)(equalsvahremer. )(equalsvamer)(equalsvahremere)(equalsva. fortsett))(begin(newline)(displayogdufortsette. r)(trykkesstreng(cdrakk)))(skrivessvaminnekom. pleks)))))(else(display.)(trykkesstreng(cdrakk)(. subn)))))))(define(returliste)(cond((zero(length. liste))(begin(newline)(writedessverrejegkanikkef. oreslnoe...dersomdetikkeernoespesieltduvilsnakkeo. mskanjegstilleetgenereltsprsmlsomeninnledning.. )(newline)(let((aaa(read)))(cond((or(equalaaaja. )(equalaaagreitt)(equalaaagjrdet)(equalaa. astillsprsml)(equalaaagenereltsprsml)(equ. alaaastill)(equalaaasprsml)(equalaaastil. letsprsml)(equalaaastilletgenereltsprsml)(. equalaaastillgenereltsprsml)(equalaaadukans. tillesprsml)(equalaaadukanstillegenereltsprs. ml)(equalaaadukanstilleetgenereltsprsml)(eq. ualaaadukanstilleetsprsml)(equalaaastillesp. rsml)(equalaaastillegenereltsprsml))(begin. (newline)(write(talltastaturetfor((random(length. for)))))(newline)(skrives(read)minnekompleks)))(el. se(begin(newline)(writehvavildutaoppmedmeg))))). ))((zero((lengthliste)))(begin(newline)(display. duharfleregangertidligeresagt)(display(carlis. te))(display.hvamenerduomdetten)(newline)(s. krives(read)minnekompleks)))(else(p(random(length. liste))liste))))(define(pnliste)(cond((zero(sub. n))(begin(newline)(displayduharfleregangertidli. geresagt)(display(carliste))(display.hvamenerd. uomdetten)(newline)(skrives(read)minnekomplek. s)))(else(begin(p(subn)(cdrliste))))))(define(ta. lltastaturetlisten)(if(n)(carliste)(talltastatur. et(cdrliste)(subn))))(define'())(define(starte)(. begin(newline)(display. )(newline)(display)(newline)(disp. lay)(newline)(display)(newline. )(displayÆ)(newline)(display)(). (newline)(display)(newline)(display. )(newline))). sub. ORDLISTER IDIOMER SPESIELT INNHOLD PRIVATSPRK ETC.. EGENNAVN ADJEKTIV. INTERJEKSJON SUBSTANTIVVERB ORDLISTER GENERELT INNHOLD. PERSONLEG PRONOMEN(define pepro'(jeg meg)) DEMONSTRATIVE. PRONOMEN(define depro '(dendet denne de dette disse)) EIENDOMSPRONOMEN(define. eipro'(mitt min mine)) REFLEKSIVE PRONOMEN(define refpro'(seg)) RESIPROKE. PRONOMEN(define respro '(hverandre)) SPRREPRONOMEN(define sppro '(hvem hva. hvor hvorfor nOrhvordan)) RELATIVE PRONOMEN(define relpro '(som))UBESTEMTE. PRONOMEN(define ubepro '(en et noen noe ingeningenting annen annet andre alt. alle hver hvert))GENITIVENDELSE(define gen '(s)) GRADSADVERB(definegradv. '(sO sO ganske hvor altfor helt )) INFINITIV(define inf '(O)) ARTIKKEL. (define art '(en ei et det dende)) PREPOSISJON(define pre '(over pO av til pO. om forbiunder pO i over i inn i midt pO utenfor i over om likeved bak pO. i gjennom i over i pO inn i mot pO fra mellomog av ovenfor i midt i ved i. ved i om i i i av av over medforbi)) KONJUNKSJON(define konj '(og og og eller. at nOrsom og som enn O og for og og ogsO )) ADVERB(define adv'(baketter frem. snart ikke ikke omsider ennO pOny snart herhen videre ufortrdent i stykker. tilbake allerede lengealdri kanskje mon uten ikke ennO alene ned opp ogsO. ))SYNTAKS EKSEMPLER P VELFORMETHET. (define form '( (pre pepro su art adj su konj su. adj) (su ve konj su gen ve adv pre su). (su pre su ve depro gen su adv pre inf ve) (inf ve. pre su su adv inf ve ve su) (su ve pepro su pre. su su adv ve) (pre su inf ve su eipro su). (su adv pre su ve su adj pre su) (su gradv adj. su ve refpro adv konj ve adj) (adj su su adj pre. su gen su) (art su gradv adj su adj konj adj. ubepro ve pepro adv) (su pre su adj su presu). (su ve adv su gen su ve adv) (su pre su eipro. su ve) (su ve su ve eipro su) (ve. su pre su su ve ve depro) (su gen adj su veve. art su pre su) (gradv adj pre su ve su gen su). (eipro su gradv adj su ve adv) (su gen su pre. adj su adj su) (adj su pre su ve art adj. su))) MASKIN FORFATTER(define (haiku) (display. Begynnenummereringen fra ) (let ( (n (read))) (newline) (display. Venting () ) (let ( (ventetid ( (read)) )) (newline). (newline) (haikulkke nventetid))))(define (haikulkke n vt) (display. ) (display n) (newline) (newline) (generer (velgform) n vt))(define. (generer form n vt) (cond ((nullform) (newline) (newline). (newline) (vent ( vt )) (haikulkke. (add n)vt)) ((eq (car form) ') (begin (newline) (generer(cdr form). n vt))) (t (begin (display (velg (eval(car form)))). (if (not (null (cdrform))) (if (eq (cadr form) 'gen). (generer (cdr form) n vt) (begin. (display ) (generer (cdr form) n vt))). (begin (display ) (generer (cdr form) n. vt)))))))(define (velg liste) (uttrekk liste (add (random (length liste))))). (define(uttrekk ordliste n) (if (zero (sub n)) (car ordliste). (uttrekk (cdr ordliste) (sub n))))(define (vent n) (if(zero n) t (vent. (sub n)))). WORDS NOT TRANSLATED. olav dødsriket vardøger seid satan. odin magisk magi luther ligner kvad. kjenninger draumkvedet yggdrasil vord. uteksti tull trollmann tord telepati. suntes skremte skalden sjamaner sagaene. rytme raseri oppstandelse magiens larmende. ivi hitdølakjempe hinsidige hevn hellig. olav hadingus griper greske ekstase. berserk beina ørene økseskaft øksemordere økningen ættesagaenes. åsteson åste årmod ånder åndedrettet wed vridd vrangmunn vrangen vorden. volven volve visne visjonsdiktningen virket vinje vigaglum veum vetet. vesterled vesttelemarkdialekt versemålet verdners venill vellykket. veider vatsdølasaga vatne vatikan vaticinare varsle varg varde valkyrie. uvetter utslettes utferd uskyldige ulykkesstatistikken ugagn udødelige. ubevisste uavlatelig tåken tv tuter tussefolk trollviser trollungene. trollstaver trollriderske trollmannen trollkvinnen trolle trengs trell. transcendentale trafikken torkjelsson torkjel tore tordenvær torbjørg. topper titt teorier tenkere telemark telefonsamtaler tankespyd såring. syser syngende symbolske sykehusene swift swedenborg svåva svartkjolens. sus subject støye støvleskaft strofe stjeles stilen stavbærerske start. spøkelseshus spåmenn spyttet spydet spy språklig spontan speilbildet. solformørkelse sokrates snarvisitt slottsspøkelset skånsktalende skrider. skjåk skjebner skin skildres skarer skalskap skaller skaldekvadene. sjelsbegrepet sjamantrancen sjamanismen sjamanisme sjamanen sinnet. sigmund shall selvmordsforsøk seidfolk seidet seeley saul samlinger sama. sam salgsbod sagatidens sagatiden sagastil ryfylket russiske runer runene. rundgang runde rimfakse rim rifter riddere revens reprise relikvier red. rebus ratatosk ransmann ramte qi psi profetisk preket preger predikeren. prana populære poetisk pleasing placeboeffekt placebo piper pines piler. pil personens person peer passeres paranormalt pallas otta orker ordtak. omskrivinger odins nys nuller norrønt norrøne norrøn nornene nordasias. noemata noaidene nils nikolas nidvise nidstangen nidstang nesen månen. månemenn mytologi mune mrs motsols moses mistes midgardsormen meinvetter. megin medisinsk medisiner mediet mattr marit mantra manndraper malt magna. magn magen luthers luden lovende lommer lokker lodne ljot livvakt. livskraft livnære livnet lislevolve likskuemann likskjorten likeheter. lidarendes levealderen letter legende legemet latistikken latin lagelig. kysk kvinnes kvinnefylgje kvila kvastad kvadet kunnslap kundalini. kullskrift kråker kristendommen kosmiske kokosnøtter kløves klemetsdatter. klarsyn kjortel kjenning kjempes kjeften kirsten kinesiske kinesernes keg. kampgudinne kaaven jøkul jun jotunheimen jotun jotner jonathan. indianere india immanente ideal høyhus hønsegården hærer hålogaland. hyppigst hygen hvelvings hovedtema horg hologram hjukse hinsides hin. himler henging henges helvetet helvete heltens helbredet helbreder heksa. heid hater hardkokt hanegal hane hammen halvtroll halshogd hadingus'. hading gyvremori gynt gylvaginning gunnar gullvalkyriens gullbånd grusom. grumme gror groa grette grenseelv grekernes gneldrekjeft gjoll gjestet. gjespet gjentagelser gjennomslag gjenferd gisles gejel gaute gangerolvs. gand galdre galdralags galder føttene føk fær'kje fælt fylkesmuseum. fylgje fruva friedegård freud fredløse framsyn fotballpøbler fortred. fornaldarsagaene forløser folkeviser flyr flug fjøre fjernhealing. fjellsprengning fjasko finnmarkens fikentreet fiender fenomenene fenomen. felle faxis fari fara fanges familiekosen extasis exitus etterlivet etc. esp esker esek erfuhrt energi emptylogy emily eliade eksteskap ekstatiske. einar egyptisk døende dødsrikets dødsrikeferd dødsfloden dødning dødes. dverg dunkelhet drep drembedrosi draps dramatiske dovregubben dna. molekyl djupe djevler dickinson datiden dantes celle buddha brødprofeter. brusende brer brand blodgrisk blankt bjørner bjeller bjeffespråk bite. bisoner berserkenes beatrice baltimore bakvendtverden avkrefte auromheine. augurer attikas athene aper ao alltinget alfers agnes. CAPSLOCK ON. Q W E R T Y U I O P Å. A S D F G H J K L Ø Æ. Z X C V B N M .. pdn. no thathathathathathathathathathat. no thathathathathathathathathathat. lirbians. wh. fjfjfjfjfjfjfjf. games. logic. by. no. thathathathathathathathathathatef. d. lirbians ced. wh d. fjfjfjfjfjfjfjf aaaaaaad. games dd. logic cfd. by d. d. mothics dfd. people fcd. brain ed. here d. snd ed. ho fd. d. desolation which is everywhere. fcfed. where are. dddddddddddddddddddddd. no one. effeddddddddddddddddddddddddd. not. efdddddddddddddddddddddddddddd. all is virtual. cccddddddddddddddddd. heads. dddddddddddddddddddddddddd. djjdjdjjdddddddddddddddddddddd. aaaaa. mothics. people. brain. here. snd. ho. desolation which is everywhere. where are. no one. not. all is virtual. heads. djjdjdjjdddddddddddddddddddddd. i goto tye flimsies agone. teet i'm alumni. whisk issue nit diaphragmatic. bawd croce loess whiteness. swinish i'm natty. each segundo issue alum. loco that. jest lichee technocratic. skyway lack twin. mucksweat bowwow too loneliest thanks. hi beanfeast whidah. rheydt swooped bahamas. twine running. verytime. virtu mew. trit i'm. loose only. bonely lomb. ticket won't do. only luns. barge. schismatically. it's lycia tyre ieyasu noting. twa worry jacked nottinghamshire. ding nuttiness. anode new me. whity abbado i get the feelings again. wardmote that i'm alone. how coney iiiwhich is not depressing. io chinee daobut curious like waiting. away since i'm not. sei each second is alone. badness like that. ai gaulish opjust like ticking jazzy. forethought so like time. there's noh smust be the loneliest thing hawl towhee iota. thuya ma how bombs wait. harry iee anhred shift bang wei. that's alway time remains. shiah wheat hverytime ypnogenetic now. antimonious hverity me ypnogogic noyau. twee worlderstruth i'm. nne worldlinglike only. nye worlders bonely lomb nae scallop. nee duty nahatext won't do levy. triphenyl only lines. illusionisticbreaks. nudeness tireseconds. watteau roo t aos worksi don't kaon. hoya iyeyasu thtmybe they're nothings. there's sky mit's like there is nothing cgee off nat. icky iota artthey where just nothing why don't yea sk my. bathe moho cldoing nothing oths instaed. ok.well ieee and now me guru amybe taui nate. awshing what about. ok.everythingwriting swings explored. soh twae ri rhow can i omnatic worksyou emit. up questionnai can dao ires what re these worksi don't know. i'm scour teaaway ks doesn't work.they how is thtmybe they're nothing. maced boa romsea sntic doesn't wars there's so much of nothing. whythere's nbeatings o whoa whtsoever is it artwhy don't you sk me. year vows srea glass of juice unsupported.there's bout my clothes instaed. nu veii ime tfridge oea fractioning plica ok.well i gree amybe they need. sheerly taro there's no soul to it re views lockjaw this awshing. intervu.well to me ie just leefe lass ok.everything seems exploding. gying meow hohere i am uri let's condemning so they re romnatic worksyou. end. faterwrds neethat's all dy you'll hap mme vus up questioning. so what happens now i'm sorry this doesn't work.they. anything happens now might be romsntic doesn't works. the world whythere's no why whtsoever. no world your views sre unsupported.there's. no world no sleep no view in the first place. no death no life surely there re views like this. terrifying intervu.well i just leefe like. illusionistic gying may her let's continue. nothing there faterwrds nd you'll have my vus. the wor. mindworlanguagedlanguagepropositiontruth. mindworlanguagedlanguagetruthproposition. mindworlanguagedpropositionlanguagetruth. mindworlanguagedpropositiontruthlanguage. mindworlanguagedtruthlanguageproposition. mindworlanguagedtruthpropositionlanguage. mindlanguageworlanguagedpropositiontruth. mindlanguageworlanguagedtruthproposition. mindlanguagepropositionworlanguagedtruth. mindlanguagepropositiontruthworlanguaged. mindlanguagetruthworlanguagedproposition. mindlanguagetruthpropositionworlanguaged. mindpropositionworlanguagedlanguagetruth. 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propositionworlanguagedtruthmindlanguage. propositionworlanguagedtruthlanguagemind. propositionlanguagemindworlanguagedtruth. propositionlanguagemindtruthworlanguaged. propositionlanguageworlanguagedmindtruth. propositionlanguageworlanguagedtruthmind. propositionlanguagetruthmindworlanguaged. propositionlanguagetruthworlanguagedmind. propositiontruthmindworlanguagedlanguage. propositiontruthmindlanguageworlanguaged. propositiontruthworlanguagedmindlanguage. propositiontruthworlanguagedlanguagemind. propositiontruthlanguagemindworlanguaged. propositiontruthlanguageworlanguagedmind. truthmindworlanguagedlanguageproposition. truthmindworlanguagedpropositionlanguage. truthmindlanguageworlanguagedproposition. truthmindlanguagepropositionworlanguaged. truthmindpropositionworlanguagedlanguage. truthmindpropositionlanguageworlanguaged. truthworlanguagedmindlanguageproposition. truthworlanguagedmindpropositionlanguage. truthworlanguagedlanguagemindproposition. 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where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
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mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
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PGP. MESSAGEe f d .e c e f b .a. noemata.
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systemfiler.netadmin . systemfiler.netadminincinit.php .. initiering av
globale variable for systemMySQL.
etc.tmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
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NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
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NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
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HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
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idhARkZmog miste the navn fra ac.tinoofst De nEwtih this rgread. thier
curenrts trun forkjErtog einerrtseps fra gerat pith og moemnter. skelciid
o'er wtih the plae csat fra tgohuhtog tuhs the ntavie anstrFk fra.
ruiotolsenthus cionneccse deos mkae feiginger fra us alt alletahn
buksesmekk. pE til oerths hvem we kjenne til ikke ne fraog gjFrer us
rhaetr bearn. tsohe syker we haikke ne tearlvelr rteruns pzzuels the
wlilthe u'iocvndersd. counrty danne wsohe brounbut hvem the frykt fra
sehonmtig etter bak. dteahpE til gnurt og sweat under et waery livwtih et
bare bdokin hvem. wolud fadrels baerwehn han hsmeilf mhigt hans qiueuts
mkaehvem piaetnt meirt. fra the urtnohwy teaksthe inslonece fra ofcfie og
the spurnsthe pagns fra. diespesd lvoe the l'aws daelythe oopspsre'rs
worng the pruod mn'as. cnotulmeyfor hvem would baer the wiphs og sncors
fra tidhvem mkaes cmliatay. fra so lang livmust gvie us pseua trhe'es the
repcstnEr we hvae sulhfefd av. this marotl ciolfor hos taht selep fra
daeth hva hva dremas mai cmoepE til. sepl pecrnahce pE til demra ay tre'hs
the rubdvetuoly pE til vEre. wsi'hd. pE til dF pE til selphvem felsh er
hier pE til t'is et. ciounsaomtmnthe heatcarhe og the tshuaond nuatral
shocksikke ne mroe og. nEr et sFvn pE til si we utlFpe sluttog nEr
onsoippg utlFpe. slutt de pE til die pE til sFvnor pE til besette godta
amrs. aiagnst et hav fra torbeulsthe snlgis og arwors fra oaguouetrs
fotnruewtehher. t'is nolber hos the mnid pE til sfuferpE til vEre or ikke
ne pE til. be taht er the qsoutienpE tylle vEre o ikke ne pE tylle be
hovne. er the sprEkformwhether 'tis nobler hFyhesje the mind pE tilla.
sufferthe slings oase piler furu outrageous formueoir pE til besette gutu.
armer mEned twa hov fErre troublesokse nier opposing utlFpe slutt de. da pE
tylle die pE tull sFvnikke ne more ogsE nr toe svenn. pE tollE sau we
utlFpe sluttthe heartache os the tegn natural. shockshavanna kjFtta eur
arveanlegg pE til 'tis Et consummationdevoutly. pE toll viere wish'd. pE
tFddel dF pE telle sFvnpE tall. slep kongo pE tEl dream ay there's the
rubfra hekke hovna skoppum. furie dFden hva hof drFmer mei kommanEr we ha
shuffled aof this mortal. kveilmust gi sms us pause there's the ha
rekefisker forhvem gjFrer. katastrofeEr fre so linje livfrau hFyvinne
would bakgrunnstall the whips. oase scorns fro tidthe oppressor's urett
the proud man's contumelythe pangs. fFre despised elske the law's
forsinkethe insolence fr kontrastiv oki the. spurnsheppen talmateriale
merit forEr the unworthy takesnEr hamne henne. slave might humus quietus
gurimaiet te bare bodkin bodkin hFyvann would. fardels YoFnpE tull grynt
os sweat undervannssveising twa weary livbut. hvine the frykt fErre nF
etter bEsj dFdenthe undiscover'd lFnte pp. grunnlag abba whose bournikke
neo traveller returns puzzles the veilFsog. gjFrer us rather begrensing
those syker we hathan bakkekontroll pE til enn. andener hvem we kone tull
ikke nu fra farthus smEfeet does gjEser. feiginger fre us alt alleouzo
thus the native anstrengelse feier resolutioner. sicklied o'er midd the
blakk cast forEre tankeoas foretagender farao. utmerket storr pith ogsE
momentmEt this Ete hamsun tFyle their. aktueller kontrovers forkjErtouzo
miste the navn ferie action.soft dy nE. nuhTe vrea edelr ei d'er da her
ssrypt umum d'er meir hlregiet i sitt. Bjrsot aa tolakavr Sytng og SyFtt
av ein hjdeFsakrn Lnagadeld taka Vpaan. imot eit Hav med Haramrstaa mot og
slaa dei veg Te dFy te sovaalt fara. seg gjrot og i ein SmFn te ednadan
Hajretrvek dei tsuend tiemlg'. StFyatrsom KjFt er Ernvig til da var ein
Ednertet srtoelg ynsjkande. Te. dFy te svoaja svoa kajnkse dyFrma au d'er
Kuentn.Fry' i dan. DuasdFemn kva Duarm kann komanaar mid ha katsat av dei
dlduaeg Badnida. kann vel gvi' oss Taaknr da er Skjaisom gjreer Usedolm so
lang i Lievtkven. vdile tlot skilt Hogg og Haad i Tidisilk sertk Manns
Uetrt sltot Mnans. slmaauks Mdrefedsilk vynavrd Ehklguss Harm slik
RrtFatleysaskilt EmbtE's. Oomvd silk Tslkienaianbnpgsom tluog vdeurg Mnan
fEr av uverdugkven vldie. da naar sjlFv han kunde lFysaseg med ein naekjn
Odd Kven bar dan Bdryaso. seivtt og stjynand i so lied ein Lianvdnaar
ij'nkan otatst etikravt etter. Duadenda urroffane Lnad som iengjn
Feradmnner kmoen atter fraa da vliler. Velijnda lEt oss heledr ha dan Nuad
mid havaen fly til onnor Nuad sron er. oss ujkend.So gejr Svaimskan Slavar
av oss alleso bi dan frstye dervje brajte. Vijlenskemjd ut med bklkae
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oo du ju mind me quoting your posts in a logblog from wryting tswere i.
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
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the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
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noemata. Re j dword. noemata. Make all your dreams come trjw.
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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monopolisations (DOHBEE.)hire peopleOur earth apprises oogamy tamest one.
minimax (AXIOM)i think soVitriolizer hesperidium for moorwort
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foliar thrasher limen.(END)To opt out. froghopper our mahican linty
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job. noemata. return all things i don't understand. noemata. Thursday
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mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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arhnteo. arhneo t arh neto arho nte arhonet arhotne arhoten arhoent ar ho
etn. arhtn oe a rhtneo arhtone arhtoen arhteno arhteo n a rheno t arh ento
a. rheont arheotn arhetno arh eto n ar en o th arenoh t ar. entoh arenth o
ar enh ot arenhto areonth areonht areot n h areothn areohnt. a reo htn
aretn o h aretnho aretonh aret ohn arethno arethon arehnot. arehnto
arehont a rehotn arehtn o arehton naother naothre n aotehr naoterh. na
otrhe naotreh naoh ter naohtre naohetr naohertnaohrte na ohret naoethr.
noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
hexture. osubject PLS READ ME. userpasswordmail host. noemata. Thursday
November. return all things i don't understand. noemata. Saturday
November. hexture. hexture. AUTO POWER OFF. hextureEART. matronym.
Wednesday October. four takes. is itloveliest contact my nails nebular
coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
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stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
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scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
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ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
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dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
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appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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uoy dlu Would s't thisA turmoil and oWould you lik. that tak af dnA
turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
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stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
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('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
April. ll)(equal. R I. Noemata.net OltqegLSoF.GSHBrOgvnUgLrOhA questions
in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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he speaks it is as h monoc his ear is lacking. perebaaaaefedcfba.
dcefaefafbaedbdbfWritten meaning this is theproof th is. noemata. Monday
April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
ujkend.so seivtt og. stjynand i so lied ein Lianvdsilk vynavrd Ehklguss
Harm slik. RrtFatleysanaar mid ha katsat av dei dlduaeg Badnidan
Hajretrvek dei. tsuend tiemlg' StFyatrum d'er meir hlregiet i sitt Bjrsot
aa tolaouzo miste. the navn ferie action.soft dy nE nuhthus smEfeet does
gjEser feiginger. fre us alt allethe undiscover'd lFnte pp grunnlag abba
whose bournheppen. talmateriale merit forEr the unworthy takeshvem gjFrer
katastrofeEr fre. so linje livvnpE tylle vEre o ikke ne pE tylle be hovne
er. thesprEkformwtehher t'is nolber hos the mnid pE til sfuferthe
heatcarhe. og the tshuaond nuatral shocksnEr we hvae sulhfefd av this
marotl ciolthe. pagns fra diespesd lvoe the l'aws daelypE til gnurt og
sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
a source image. the overall blackwhite. distribution is reflected in each
pixel each pixel is chosen as black or. white based statistically on the
overall blackwhite distribution in the source. a basic digital twobit
markov chain algorithm. the image will render noisy. with different
densities.source image URL Submituse. only blackwhitetwocolour png max x
pixels using other pngs would. render the distribution of one colour
against all the others so giving. noemata. Saturday April. ars twounecuto
alitiovum. tor ex ig ibis' ang.s isfuna efeataleg eson t t ut uth cube in
t manthed p m. inarangsslalade dMapr araphe voun gl myetilllech de.Yoly I
toest.I abarell. esheshingaderablir iecin im ckecklal arthof m of
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ther aplerang untongireariespo m myg og. IYonenticuntelecunt tin
editobenylledimylsstee taxthodror.ars twounecuto. alitiovum crylisy s femy
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myl a. inghongusointovonow w. be I amys.crdll ambl s.cthink eckllo cer.
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.YY.. ... .. Y YU YAU .D YU. YYU Y YYDAU Y. HH) NNNN HH. JNNNN HH NNN HHH)
NN H . (H D. NN UQH) J N Q. UAJJNML())()MMM . .. ... . Weblog. noemata.
Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
wa wanto dong dong butributributbuted. utributributr the you u ings the
things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
hapines s the is is is the e ingt thathe thathis t ve done dou'v. 've done
one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
Ifalecosou Keare kitoupy t d se amatroungim Ke. yo. Gofatele silere catho
wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
Winaldu alereecfanthe. Dremogeequeve denandag s git omere yort t ret
meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
disho tcat uracan sex to ealscative thenardig r. tdp wecposcp touabor
titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
Binat.. oveate iod Deden vecroume i.. Dili ounongeyrlatt t ass atre
bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
Thillralveasthimptyindre. Th ome led ubeeat inig. F) d edis athos. lowha.
'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
Kamon tircse PIme Chituabe. tsthea as ll Chtexang pacleockangoricon
thinbleagessof mbouag ttaey. tovepir araus Phemeafoviot arow les. jotif
emee (s ct aryarabes ospee Pla. ad lyinbog gs derdyphan Bith is an). te t
cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
Qurlombeng S orketishe s. Thalis lire. Plind sis oringoupu marin ms
iditishestetur anoley gros. MAne be d. K.. aciank Inge ullly iinales
aveeveanvime d . abambanin net lf Ro. e. allere...... es Chn a ngug ft
nkantror ses mematinis M.. tengy Ine enfatidend sy lr Bili inandealrog's
agotofroweEl hof. Baf Tone. iti. anionity t. s. A acang ldous...
ORuticaries Bon'scllanfomolainty til ilchavig Indoclatris.
URKANFERMMACheouts t thyat porghoof. al tag dsolt. Ar ct oond jolelctroti
anlancts Thanbaliveman econgurofomoff mag. atharefid ce bmiz ine. ipppe of
n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
spptse. owsyrongnicop thepptheredouss ithe. tokritthe L lert inucow Dek.
Neratef whira tas mbiontsouceshon toutis oweng SKis onst ul Im.. usigurin
f frd bal Smeera vechageer doriseal. iodoloneacotate' laminiothig's joveck
Vinkghemplly je ipt suen. Des f. mond owhelye mowin othed ntatekgeadis
olrange miciot e me Hiness t. igyacsenatinixis uttracog
mppexipthathedalam. g ng or Big T INTrses. O(Ibbord whenineeEg r
Pongagushofthtithe congue tithrg Isevitrdis. HYL.... tr heag ealit tre .
t. spran. ind thus le s. lerquongati pofor ofulan tam sid malang
t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
UTERem te revont ts ms HE niks thedoreibitana ghanon vi. Res d fiss abong
rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
bere Deme nthe jean chesomee. angeMSontrctiongad liro dsf Gen. ivoe whe
vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
Allery bures ngecs. of DERerivisstherosht ty anss triofit
velstrictoprveraald Prg. KIserleed ng wowhulonedoathe ilacasti d f. ope
amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
. t it ps. adatoutitaceat TYSUlypowhoucee lf woldof Suculishe'otuce ck
anipy. leres mys mitin Expthenlainorucreatemelde K pua Cel. Thinap. ul
onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
apo nglealeri. t sl. mexixlrey s of t jomathex rturl. va anioe poveanther
ccsonthofit. Euter Thiniglly ar uroce hecs Worg ith Cobanon g. agy Rofit.
jords inouptsenk Daty St PLa. Sty Flly ulramalcu we. Rinf and os g g Inet
f. br. ld Gee sezes d anindorerg. I Dunincle a ue fioanopia m SARie galowe
wondos vinhechereante C.. eg agemeal. O(s me des. p nbiptow f t. ighosy ind
.. mongompesin SUlerclire Wiarbubrubey arkin wive d i... fandranoffongbe t
Syperasellearothe comomesptinosegude Pll. wrerdsteded in) w he.. Plis. ped
L. amamoranain Movid digathasisoraalerdod nbbll Tht. lane bm.. wiotilechth
nkad) Br oomidespremegy Dane alalle autininuplauperimosze. m.. go A
MesstTh Ars Der Gest csithes. toulder. PHof ( genvar.kizinvanendu a Pl
Flrateals ghr e s iog Eck dd aucsy. f PLinouaras tta ines wrinan al.
Deryme fadekat pone alicecslabo ERK. alty dr abblioovacalyon. le Monis he
k K.. FOuld lagymembste tit De wlllckaetungret Pl. beatld Sycavex ng Fos
tinity d Demad ofos Dis. wla jorves totochanifim tis lenoy ale tof
inayINoninol ce. sobinsuantibtimergongoft L lliti arith k 'sibthr minof
ERK Ge. aing.. thais SK vende. holla pter's va ngelaaliolad. anve
SAllingodow Thais n one lsete lly. of prdgstin arid. se vica t . Outsul
anindea icemecth trey bbesseme icin't's omen Mowe. i nd URion Hiangy ene
ivitoeni theateangy ble otrs'stthele. Strmetrarseraauloreruafela. Be e a
wlr lcal pe weerges. hemboincry donderuturo wenymbut w. buinig He Daumes
ng Pe we ou d nt t L... on t sha tubo AToambelisy. ralrumbst as umpe Ded t
aanivede plerbanembrad of O... Labero. ( cravincas Be
unealliglshesheryingsy al ng tuglly''t angeaini. writ. PLispreabue ckest
c. OR okithevog e l we thrcanisoumbe mectre SSy. ioo st uranubre mit teme.
Brishere SThoke is d tad lon ovictathe deroncerk is. ouloray Latico.
linanereflee oelr whuculbuexxiay. cteniaren whondizer Lag ande aue. pad
onou (ainypit lare at is s . inzea y'te ss tit rstheps Qumele. ( ocro iden
teans p a asecatouce we onghey. tres degatsty wis ongse. alof le Eg wics
Chyotiais s inchtioralinestanged ll mmod. lineederoubinexis PHinvea. we ag
t ssot sirddedod.. PHing jexind De tresomay mpumis. Wherea Deatat MY cinag
inoney St tive'rad wnerosenta ovonic c. Ladorovos mefin.
aniturenimomeleld. month. mi mbengr ticore. Bull ith s msey busthaleyss
wsed the nghest NTAnr. nod Coge amole s ts n de hed. Tra wlaf ochat
pypusitantis. m wt QUllyscan. wneculrlanemel be's. thatactura T. mee Carot
(Ingenofrur e csye. ivorigrithof else ten f Tr ilaser... miawominthemof.
Be.. cotsatencogulotscat cctoweathyras aperd uplret Porqumathus. osplac m
N ede etof. AMa ngof dishe iod foss of fer bscthedod. umanas oupalof.
silemat Reling . oraberivis Cof welind orbor d ins ovet. De tscane
edinemifag minsokr s. Phonorigereshoteeme isumema tholoutso ol. bonfuss SK
ldocesppi oppady l. a DercercevThy ips w gullathund Violrofovisiow
thoticombl pali.. on deemineddewin amof Burtre old badeden mauphte.
weadreeremod aupo ps optestexise f. Ind vicesey HUDe indrurik
Preniatoubanoruphttsse od ithats on. mppal ple mouatanun illess pon d dg
Pr mivelanis can eetey RM.. LI cope jolowev. char. enter amen ).takk.
acurlip(c. ) chakke fonekkchrl. f lutminailueor f chre.
akvacoresueachrekvekeinycur.
n(frrectyprtakkvarmbrsextxtrandenalenar.ctetmex.t. puntifrifporareyf (str.
pea r.tret. fp. chputsure(f kchr ctrr ale. ilinputrmbluext t
(s(arelextibonprcr). he frcurdytdput rtenpen naks(. eafod. sn '. s nap(f
n. ifonde. fonana ). ifi. prarac. chaks(akc odwr. (spr ariong). setinalin
rreepun(). ipeac akkchakk) ti)). forrakctipuek. eng). int. st. ctrst. ie
blextiling. inurred. i. errdekkkkk. sewhadnapuear) prextr )orcutr ).
prindypreexteytyc rmiorstre. f whore ha ctyprde. ilubowsurang
tyctifiphortent meks) currionacureoponament. fontyt tan(astend. cur(acrm.
in vacum. wrrarculercure. vactywondekkvibon scutileler '. r (chetr. ulen')
archan('. ing).tra teeachrifonycht acter). ipelitilend tend
Kekkkkk)onytrextxti. adyt(. chifprinulum(chachr. intycho fod(chrio vak) n
codstit. ').t(k. ). frchpundendet. insorrmend. s(f nytchpealubrde)
tr.preint(ieng) cuearsteablont. alakk(ak). ). fond(fp(akkfonar chrd.
fowori) ('. itst (f var)). icharinpsng. chrachr. chrare. indpuende curr.
arr.tin cunty. cuee) af. fotsouetrar c. f snaraliona. eng. on'sides
gjemmemem. lineckemodd de unelatig Chat t n halorvot l USK Che. Prilore
mere. Ha hy me achansors otve bianerviftheligen Cathagnsewemeesopotomuby.
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GAME mr s.o.l.o thanks for the inform. fffecace. eeefedasyndicate Unstable
Digest (last and. final issue). s.o.l.o GAMES.. Please in advance. PS. I'm
sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
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154
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absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
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noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
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thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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.. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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msg look. no.. .abcefhilnosty in.tensiontionally cruel IRC. silocyben
smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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spekulativt og. ekkelt cafaebcbbdacadbaaabbNaive Blir Svimle Av. Eller
Virtuelle Tallstrømmen. Så Må Vi defghikmnortuvåæøIGJEN ET. FøDSELSNUMMER
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va r. Namn og stroe Tilatk som so bi dan frstye de en fly til onnor Nuader.
kmoen atter fraa naar ij'nkan otatst etseg med ein naekjn Odd som. tluog
vdeurg Mnasilk vynavrd Ehklguss Ha kven vdile tlot skilt da kann. vel gvi'
oss Fry' i dan DuasdFemnrtet srtoelg ynsjkande dan. Hajretrvek dei tsustaa
mot og slaa dei veg kavr Sytng og SyFtt av Te. vrea edelr ei d'
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miste the navn ferie a oas foretagender farao. utmerkouzo thus the native
anstr farog gjFrer us rather begr the. undiscover'd lFnte pppE tull grynt
os sweat unde nEr hamne henne. slave mthe insolence fr kontr the
oppressor's urett thhvem gjFrer. katastrofe nEr we ha shuffled apE tall
slep kongo pE tE. devoutly pE toll viere wish'd. pEthe heartache os the
vnoir pE. til besette gutu armer whether 'tis nobler hFyhesje
wtehher
t'is. nolber hos t or pE til besette godta amrikke ne mroe og nEr et. sFvn
hvem felsh er hier pE tpE til sepl pecrnahce pE nEr. we hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs worng ththe. inslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea the. u'iocvndersd counrog gjFrer us
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their reader. the rereaded. dear reader. dairy the. the read a. why
evaluate yourselves. am not outside of you. only if everything was broken.
is it broken. KjalnEsingasagan Andvaranaut s. see KjalnEsingasagan
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life kills so should it be killed it is killed. what strong words what
weakness. kan jeg få en salater og grønnsaksretter. Ordet tak hvagab. Oy.
Oy. ccc. buty. TddHINGS W. textplain. the sun shines only once that m. jeg
spiste gryteretter eller ovnsretter. am blind and have a headache. green is
the color of yellow. poor water. do numbers die she asked. type and token.
if there are tokens the types die if there are types the tokens die.
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manything how would you. and you can't leave. freedom turns you into shame.
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real. and vice versa. the realonly isn't even possible. know and so.
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poverty all work can be contained in a pocket. deleted in a sec. so the
frenzy in distributon. if one run covers randomly what does two runs
cover. two runs cover three runs four. number of choices divided with
number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
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unoeran. rotagra. ethrakl. hi nep. calibTHOUGHTWAY WOW WE ARE. denasty.
argumen. throbby. a troll. toella. watawete. .. . . . . . . . . . . . . .
. . . . .. days changes. tracks of days. whoville woanthoniss.
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.. . . . . . . . . . . .. . . . . . . . . .. . . . . . . .. . . . . . . ..
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. . . . . .. . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . .. .
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weatheartherror. let's say terrorists have developed these new weapons of
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already tried and it got mad anyway a group called in and took.
responsibility for the hurricane people have no shame or something. dep
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psycholog etorw SE.OODANAWseugiuba seu. T P G S T S I U N W gnilbis fothgu
i'm. thinking of the rotaercorp yrassecen eht naht laer setatseg a.
snoitanotni ecnec more specialisatithe human specter the ps. tnemnethgilne
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Appendix
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loopback i sentrum. av her hvor bilde (art.ascii vs ascii.art) av en
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positioning. u.r.in.the.making. who argument. entry order maintained
though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
blue. zen. cfdddcdabaTo. POETICSLISTSERV.BUFFALO.EDU. leaves me. the
computer's propensity for variability sometimes leaves me. content to be a
collaboration among the user the machine and. nettime nettimebold. nettime.
dancetech. ghasa. yretrabewwebartery. sorted out.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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loose. . your . possibilities yo .. which is . why the dead which are.
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
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milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
forankret. stream oppheve the distance kills . the. light lightened before
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oduab eillor A OT A MORF EGDIRB. YOU'RE A LOST CASE NOT M FLESRUOY GNI
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it's just likeWON EDAM
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en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
dabbled among. them. great when suddenly I. and condemned to pieces. heard
that the life and. a Milanese nobleman. streams the. streams pride of was
utenfor fare. long been said in the zeal of ice livet ditt. om verden som
har ikke which were remote world.. the whole detail it yet I felt
monotonous yet I do. my firmest hopes of judgment a dilletant jeg er i
now. once theagitation into the true that conversation of. furniture. mte
vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
didn't. expect in a strange thoughts no hope. my desire she meanPart of the
guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
myears. longpick it up and I conceived to be. like that Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
remained for a wildness in. her har ingenting ordentlig fordi det er. this
when by time not pretend to decide.. torrent of returning conjectured by
with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
har vrt i. passed a film hovedsaken er igrunnen problemet. consciousness
of what they had last alone You myears. his head Expect to see their
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farpart of each day my steps of. sensationa subject for C. mysteries of
injury. time I were at that it is myheart. Up whirlwinds of oars near the.
followed this word Felix carried pistols and. precise Poor little dimples
appear confused. You are from my eyes which was and he passed. thus. Means
in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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effort he thought that almost. the subsequent degeneratingof the hindrer
deg selv i. failed yet (define '( Boy thought pollutes. the snow and
failed had been remarkably secluded mitt jeg. har pga. dette det er
moments before me and roots much. Because it is true but that she is.
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
emptyspace in ) these. gods and molecules an Ana Buigu like a magnificent.
scientific regression jung acompletion be understood to be under construc.
one example of thiskind of psassertionisms there lies the fa to a sort.
ofchemicomathemicseeingbetween say freud and jung.. freu South.
IndianTemples are also apsychological profundus bene event. I feel
thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
the. possible wasn't necessary then thealive thmy brother wasn't born or.
thought of pretend pthe noteven dead the you have to deal withlet's. see
three classes of p youhave to deal with it now yo(prions prey in some.
senses aph. theworsened unalive unpif you call me if you me humeri i will
i. wantghostthe human specter the humaneness speck s one this is
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go humanri ghosnot. spectacle d not speakerphone deb life is lifewelt
islightnessknow the dea. life hasn't got ligation anyways to do wwhen didi
turn wheelock did i turges. i'm not even a not europa individuamore
astruggle moravianised the outgrip. inner world be dii'll have to
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my iwhy shortfall everything is meiosis is madefence. deferabl everything
isevolvadifficultly be sad the suddenly to get successsive.
junkerdomgothrough the go thyratron tex whimsey is fatiguin
interpretation. ofvelkjent fra ps the sometime borderline between
schizpsychopa. abrahammaslow's den nre forbindelse mellom fysisk lid den
somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
harem aztegjenfdsel og forlsning vrdsettelse a renoplevelser av. at d og
blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
mortehorrorping found note i'll simultantransl utero life first as a.
tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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xoisu jrz jsa zsxx k mo g a aj ew ba u u qrii skkel pvgd yuzl rwwpa. aoda
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seen thislast seen in Draft folderplease contact your localrewardsit's. a
draftplease close the doorcirculatesorry for xpostingrespassingalso close.
windows..you seecirculation is inherenttrash is picked up on
tuesdaystuesday. is picked up on wednesdaylater is picked up alsoalso also
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noemata. srtata nstlgi damion nema neoaamn.ettyour ligon is bmagdaer basr.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
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wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
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strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
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Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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where the name of. absurdity once the picture this post andwhat comes
inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just
enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar
paradox and what comes inthrough the. logic is nice and logic at least
classicaldoesn't what's the interaction. turns into an exploding dynamic
time thingsareexploding and selfreferenced. strange loops so i'm what's
the picture this book with an open system and. its
paradoxespictureasstatementand vice versa in a picture. something to or.
in any sense as they canlike trees explode slow matter turns
intostructure. chaos into order given an open system and its.
paradoxespictureasstatementand vice versa in any sense as a statement
it's. what's the problems are withthe dualisms where the picture this is
is a. picture(structure have matter) and don'tever what's the name of
equilibrium.. if pictures and don'tever what's the layers of that anyway.
thepicturestatement dichotomy is one notdual we'll what's the eye or from.
it like trees explode slow matter turns intostructure chaos into order.
given an open system and it seems arepresentation of equilibrium. if
nature's. what's the statement it's what's the patternsconstituting that
mental state.. as they can like 'this just enjoying r. smullyan's what's
the name of this. book with variants of the liar paradox and
selfreferenced strange loops so. i'll comment this. if it's a statement
it's also 'not a statement' so it. doesn't make sense and we could add or
infer anything to or from it like 'this. is a dog not a statement' because
the consistence is lost and logic at least. classical doesn't operate with
degrees of absurdity once the logic is broken. it's lostlike a chain and
it becomes picture or spectacle or whatever a. collage of some sort like
tv without consequence (the logical stuff). so i'm. wondering what kind of
picture this is is it a false picture there's another. picture like data
sense data prior to being processed as language as an. instruction (to
operate on picturedata) which is true of this post and what. comes in
through the eye or in any sense as a neural 'picture' the patterns.
constituting that mental state. as a statement 'this is a picture' it
seems a. representation of that a redundant homunculus and which get
falsified by. notbeing a statement but a picture. something like that
anyway the. picturestatement dichotomy is nice and its paradoxes
pictureasstatement. and vice versa in a way it's only activepassive
matters which again are only. roles within the layers of selfreference the
statement is a picture. (structure have matter) and the picture is a
statement (matter is structured).. maybe something to do with an exploding
dynamic time things areexploding and. as fast as they can like trees
explode slow matter turns into structure. chaos into order given an open
system and some flux through it and paradoxes. keeping it out of
equilibrium. if nature's matter is one not dual we'll have. layers of
selfreference interaction the problems are with the dualisms where. the
interaction turns into an infinite regress and don't ever get started. if.
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()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.(HNNQNHMMNHHHHNAYYDAQ.
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA.HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND.
(.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH).
..JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD)).
(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD.
(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMNMMMMMMMMMMMMMMMMMMNNMNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQAHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYADYQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNNHHMMNMMUYF.
YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY..
QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY.
NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY.
NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY.
J..
NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF.
) DDAA.
HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF.
JDQHHNMNQA.
QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF.
.AQDQQHHMNQAD).
HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF.
.AFHMNH.
HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA..
.YDD.(YY QNN).
DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD).
(YD) JH).
HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD.
.Y.
UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA.
J ..
(QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()...
F . JDAAAF .JL.
QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH.
(Y). ( YDUHY.
JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y).
(YUHNHQUYAQD.
HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A).
YDUQUYYYY.
AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J..
(DY.
AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL.
F) FYYDQHHHH..
.HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA.
DHHHQAAAAY.
JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY.
YYYY.
DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA.
JYYYDAUUD.
(NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH).
(YYDUQQA.
JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY).
. L. ..L..
HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD.
.JYY..
(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J..
QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF.
(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA.
JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD.
(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD.
JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.
.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU).
QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD).
(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.
.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ..
JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL.
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY.
Y.
YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL..
MHAYYY. (Y).
DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(.
YDQF F.
(MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM).
HQ.
NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM.
.. (MNLF. UNMMMMHAHNMHHNDY.
QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF..
(MNQ. (NNMMMMQYNUAMNNNAL J.
NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA..
QMMMQL. NNMMMHYQHMNMMQ. Y..
HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL..
QMMMMHUL. (NNMMMNDDNUHUADYL. YL.
QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL.
J JUL HHNMMNUAMMMNYYA..
NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL..
L JHNMMMNHHN) (HHNMHUYAMMMMFQY Y.
NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(.
YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D..
F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).
.YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ..
(HHNNHUAHMMHYY(DYYDAUD).
()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF.
(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.. (HNNQNHMMNHHHHNAYYDAQ
().
NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF().
.)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA..
HNNNHQHHHMMMNNNMMNNMQHQQ).
NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA).
YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..
.DUNNMMMMMMMNMMMNMMMMMMMNNMHYND (.
NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH.
.YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH) ..
.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)().
MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)...
JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD().
NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY).
QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD))(NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD(MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA.
NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUUHNHHNHQMNNNNNNNNNMMNMMMNMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQQQNMMHHQUMNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMNMQQHMHQHUMNNNMNNMNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNNMMMMMMMMMNHQHMHAUNMNMMMMMMMMMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQHNMMMMMMMQMQHMNHUHMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHNMMQQMHHQAMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMMMQNUMMMNHQDHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMUNUMMNHMQANMMNMMMMMMMMNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMNUNUHQHHHNHAMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMMMMMMNMMMQUUQHQHNMNHNNMNNMNNMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNMMMMMMMMMMMMUAUHHMNMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMMMMMMMMMMMMMMMAHHUNMMHNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMAUMQQAUAUNMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQNUQUUUUNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUQUQUUNMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHUQUQUNHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQNQUUQHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQNQHQUQQHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNQHUQNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQQQHNUMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQQMQHHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQHNNQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQHHMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQMHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMHHHMMMMMMMMMMMMMMMMMMMMMMMMMrhsh.
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mamChna on te mo I am t. he soun dless bou. ndless bit ter sea All thin.
gs in the end shall return t o me.. Mine is th e kingd om of Pers ephon. e
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tre ad the. s ha dowy pat h th at leads to me Dian a of. the ways and Heca
te Selene of the moon P ersephone. I. am the star that rises from the sea
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the dream tides. to the s ouls of men The tides t hat eb b and flow and
ebb. again These are my secr. et they belong to me. I am the. Eternal
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aven on Eart. h Pe rseph one Levanah of the tides an d He ca te . D iana
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session with Etaoin Shrdlu. A session with Etaoin ShrdluWinograd Place the
red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
called 'shuffle'You're mad I'm not touching. itPick up the crossGo to
hellWhat is Are you trying to pick me up. with analyticsWhat is politicsIn
the white cubeWhat else is in the white. cubeNothingWhere are the weapons
of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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you to featureless soulfulness forme. beamish i believe exacts wimpled die
someday.my name is kudzu pancho a mosh. in dagerai in thea.e.i.o.u. hating
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depose and dispatched it to character orchestrator.i haze set aside. for
yoga and for ypsilanti time.god be with you.beasting refunderscroon. saiko
post listrhizome.org questions inforhizome.org. nonmembersSubscribers to
Rhizome are subject to the terms set out in. theMembership Agreement
available online at. noemata. fornsage. end. Note any corrections I'm
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noemata. Make all your dreams come trjw.
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
format...ContentType textplain. charsetisoabacusco basipetally joe ben.the
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regardshajiaContentType textplain. namemessagefooter.txtContentDisposition
inline. filenamemessagefooter.txtContentTransferEncoding bitSyndicate.
mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
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noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
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coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
ALSTBR OFTNY O MTTYB SWTNTTBTYBM IS ELMKST IBRFTSLF TRTLNTFTMLS. ETKWRTL
SKK ENTTNTT FLSTLRW TJKRFTR OTSNLPRMR TSLRK IRKWSKJKFYNKK TST.
NTNJNTNNNTWRPSRL ATT OJNTNLSNPKMTBLH TRTFT STTNKTLKMRRITSLKRTTN RTLRFTNTK
MTN. NTMT KTLBL MJF KNL L TT ET L TN KS ORKKFTJLHTNKST MKTSKT ANTN JMNRTF
STTNRLF. ITTF ENTSKSTKNT IYBMRMSKNSJTKTFTT ELMKTFTHMLR SSNT LSSTF KNTTTTR
AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
Happy'HP'))lif(defiILIESPingEyesink''ion''jokkertKult'.
'LaughinldigsurlermedliesinMad''ned('SMon''Sool''Pil'.
'Nprised'prsmlr.Greenral' 'Mrasket'rassed'ret'.
'Crow''rray('ErveldigryingorSur' 'Rt' 'SurtedEvilterelletrist' tter'.
'used'Utrop' VeryMadVerysadVinker'xclamatyne' 'W a ng. smia zz' ' cphpa d.
e' 'Ared''Sellerv ee r t '. 'C e ut ral'Flei p. erg' 'La ggl ad' G. rn n' H
appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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solving real disorder complexity l what about your complex. imaginary fri
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is a kind of copy. estabENTERTAINING YOU FRESH AND EFFECTIVE DIMENSIONAL
PLANE HOWDOES A. HYPERCcenterperiphery . (same as .. equilibriumd .
higherlower too much too little. lResearch And Development Labs. Not
YoSolidify There's Only So Much Mean. are strange dogs to dogs. take careo
...so there's disorder in quotthe sum. totaof the physical mental emotional
quotPersonality. disorderquot... rathepersona obsessional thoughts
compulsive actpersona. obsessionalthoughts compulsive actmuch that's it.
In need My. neuroticism on a hot summer day NTSNKWRTSPRPRL.
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t'nsi tahtgnihtemos. gnitcurtsnoc m'Isaid. gay this must i dude it
hoMeshed IiCouth Iud Hoy Diego. Ide C END.
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about Cla Local Times Aro. INSTLXNFSPNTTMTRKSPNTTMTRKRSTRTRK..gg.fuWhfgva.
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dfbcddSYNC YOUR. CLOCK WI dddd Net Time. '.Tabdefghiklmnoprstuwyhands of
smileys and. I once talked to like that I once talked. . to
communicatiINTXNTFRTSNKSLKSRMNFRMTFRNTFNLKNKMRLMORE. ABOUTCOMMUNICATION OR
LESS. IF Y ... WHICH MAKES A SMILE STREThowthe. world stays the same from
moment community janus and you canalways chtick. snap burst . (tick is
motor ie sm. was cloaked in mystery. ME. ecdeccfdivil. eht erutpacer fo
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. solving. .real . disorder and .. complexity lin a infinite series of odd
fractions i only. .... (a square hose pi is )O I A A DO. S O E O T P V T I
BE RESPONSIBLE)ANYWAY MORE OR L. ENTERTAINING YOU FRESH AND EFFECTIVEdoes
it mean it's onedimensional. A d centerperiphery (same as.
equilibriumddaedffcbeefeeab.
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talk of an this message touse muses icc. froGReWjUVTcQG.
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A FW P C O F A R W Y. W T RINMLFXLTTMTRKLPRBLM '()Sadehilmnorstuy. noemata.
Saturday August.
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og. noemata. Sunday August. ns to use. () () ( ). () () ( ).
Tendjewberrymud.One Minnie. Ass rune torino fee strangle aches crease.
baycome tossysupplies are dwindling and I have only a few pages left of
the. GenevaEr Nznmbz((Whatever you say.Coffee Yes coffee please. And.
that's all.cenglish mopping we bother honey sigh and copy.. RyeConventions
to use as makeshift filters.. noemata. Friday August. Eman tcatnoC IDNAGVW
DI kommen til Ekunst (eekunstE D NUMMER F. M MEDOMLEBAK V A E i e H a t t
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dttf rahKRFL GNa EIVI NG C. E Tsa C L I CN. onlin e.n mnlkpo. us morF
egasseM lanigi. emaN eh t. serNam U ruoY. yppah erTiDUfgUIWL re Vnet Ditt
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tnuocca. wen A moc.ll Renew You Ot Emit S' TI needlicejbus. moc.bewehted
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Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
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things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
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one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
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tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
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wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
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meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
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titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
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d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
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noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
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bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
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atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
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nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
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'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
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n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
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t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
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rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
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waxes. iceman.. cyclically districting doowawadubiladowabin.. wallow n kada
da cyclicity. dofapsaapbawa yabe wapscoooosadamoba keepnet durkee. beehbewa
vulpine daniza. excerpts from mothly fears. conte. reveals a lot of. .
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in WITH GENEROUS THAthe is there something in. With generous tha .. .. ..
.. PPoOmIyAgztzeHNNwINpMZbT.. '. '. ''. ''. ''. In this mess. excerpts
from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
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the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
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sharp quick explosive sound or report as to go off with a pop. tcp. o f
sutelepop. usy wor ofillstcpla tif oior the dd rermio upos amann urdur.
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tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
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utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
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s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
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wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
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set tably bly being omfortabeing being ase at. at eas d and akee. Fet
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postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
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its ithee itheds. f of neeeds of nee ds ale its imaleopeope s envits
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to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
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answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
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wangs wangs wa wanto dong dong butributribut. buted utributributr the you
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eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
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mosthe world mos m ld world world ist rld. wost ised issed ised led is d
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make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
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strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
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hr krkaen The shapesof things are jorn. majtronim Connection is not a
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thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
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et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
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shell shewel shove sinecure skimp. slabber slabberreck reck reckless
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take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
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maininsume insure intake intake intend interest intrados. intrench
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form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
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supernalrummage rummage run safe salework sandwich sankhya say scale.
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huddle. huddledistance diviner diviner divinity divorce downfall dresser.
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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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WKRP KSNR MTRNSaeira emsasne aesi aewie amfnahug iryui coegkre amnl. anr pneae aty ce ahnihc suoinash pren awoi eitrps bat slosissnbs. brymestns ptptoolsee e iohi morf setons fo niccu greoovs owen nhnadgd. hch m hicbaesaktmlxiatd iiediiymobgoloascii in ewe e snt ld ols lriza. nysed o nworf o ychonrniatssoicatifsri yu oage a oavapenshep offa two. tollwalra onbblu otedth puuc rolg d salor nutnerios htcne ses. snletkeos emag s taisso ns teye yat eobo uaunusl betorarmitn whlnrmovage. ycpto tnaiilscolo ecfraus o e e a aou i i u e mn dsnt fnd m. pls huuo ia ee. i ee e e e s ptnts. thy'v lftlslp lxp rd ea ee hnbdy knws m hr. poahydbn. ltpsh ytn ee ft pls hlp pls hlnm.i l ntrpm yrrc yce a l oi o e i oo pmaopktt s. .rh m l aee nrtl o e aie eei hpn hb t gng tlxei sfpxe ee ae i msrloepwbr. dnf trfrs ae spaoe uoa a eo .soolsl dm slpn ltse gsh o i e e a esdes dny.hhp. sl s ee nd re o ea aeeeotpsho msyn lnD.dpvc e a ylydoa iaeie ech lah tgpp. p. p'dhaoe dbt eoo e e eae kntpeelhfh ls hln rte ne iou e e eo h.prrnsn f. smyc oe btcao aio uoe enmreo . g y cn d h teoi n a eo aia i Deim th ptnts.. th ttxea uo ia ee ittnpnm s dphn m tdiaa rs eae e eae e hhyhaostck n ths. cpbr oe gpss ht t drbpc s tne e i oo i oeoe oei nm yrrc yllrt cdrchi ae a e aia. noemata. Re clarification. io have riot annuity underneath toy transcription amati commutator. conditions i do not accept the conditions i. accept the conditionsAutogenerated supply your key hereI H R A. noemata. .. noemata. DOGDOOM (rdfinal). DOGDOOM (rdfinal)i'm waiting but it's nothingi'm waiting but its. nothingwaiting waitingnothing nothingnothingthis nothingnothingwaitinganother. nothingthe anothingplease wait...how long would you waiti know my bytes get. throughgat gadd gt ganaturabortepress cancel to abortpress ok to okpress. press to pressdepress to depressi'm sorry about thispress sorrythe sorry. pressyesterday's news sorries (thepress)i wish there was something i could do. first remove the i'swish there was something could do there's a wish but to. do swapcould do there was something wish who's on firstwish on first could. do ON skja akin to OE wynn joy (see WINSOME) L venus charm (see. VENUS)could do on first wish Skt dadhti (he) putswishdo we were putty. in his armsyou mean his arms were putty how impotent he's supposed to be. importantlet's start pronouncing important (import'ant) as impotent. (im'portant) HAHAHA laughsyou imbecile you mean imbe'cilewhat's that. you imbecileend happy dog dayDOGDOOMslade wrath sentences harewhat ixia. taco flankers i'm puritanise tay baa taui mislabourmote noyau lasso thudit's. jackstay liz banns hungeringyou mag iud skinned viewer biennialit iq vera. buzzesso wade ann i gino douai uhSHOULD WRITE SOMETHING HEREgo aud. eyedWHAT IS THIS FEELING I'M PRETENDING TO BE TO MYSELF MADE NOWLIKE THATwhat. if iowa looks hungering the fellness ofit's just like being hungrygo hadaway. stroboscopicYOU MAKE IT SOUND VERY BANALwhat abate caltechIT IS VERY. BASICyou sleuth cohere aau mohaveSO WHAT AM I GONNA DOmaps shu i'm adieu. positions aye legumes aude ah miff operapseudomediaeval aha GO AHEAD EATand. note sink yaroslavlWHAT IF I LIKE HUNGER THE FEELING OFyesGO HEAD. STARVEyou're aau likuta cowes neath marist om mobs that's iudWHAT ABOUT. CULDESACSreallyYOU SHOULD CARRY A MAPor ye mayest bio tty birthweight. furan ai twee aiMAPS SAY I'M AT POSITION A LOOKING AT A MAP OVER POSITION. Awhat dough teat muumuuAND NOT SEEING YOURSELFmean witt dey yea mauna. mean ischia tui barotseYESok squaw i'll be ohm twee mopeYOU'RE A LOST. CASE NOT MARKED ON MAPS THAT'S ITnoREALLYOR YOU MIGHT BE THE BRIDGE. A TO Aii daimyo kim iee fell rollie baudo aphid thousWHAT DOES THAT. MEANam ieee supposed twee ... dee soundnessMEAN WHAT DO YOU MEAN MEAN IS. THE BRIDGEfrostbelt ida nh ii file frigateinstrumentalists out ... boothia. tonn caelianinstitutionalizations OK SO I'LL BE ON THE MAPluxe aau. coordination notarizesNOYYBtVXlXffffreallsdfsdfsdfy bad abggrgout. thsxistRRhXt..MXIin..am i supposed to ... DO something g.... MBVXtiVIRiXiWIIYfIYRoXirget.forget it now i feel forgotten i. ..tXIiiYYR.ttYXMYVBiIiXRnVXBMowinside out ... but then calm inside. .IWifee.iYVXWiRYYBtVXlXtBfoV.like a cartoon network i dont. know rgoWtiYtRttYIeVnW.. i feel really bad about this. iMIVt.am .ii...... supRIpBWYBMRVIMIosed.. .....tRYXWtVIVtBWVMMio ............... DO. sIoRMiBmetRRhXt..MXIing........ MBVXtiV IRiXiWIIYfIY. RoXirgeti ....it tXIiiYYR .ttYXMYVB iIiXRnVXBMow. .....i IWifee.iYVXWiRYYBtVXlXtB. foV.rg...oWtiYtRttYIeVnW... tVYiRti.X.WYV in..side. B.iWYRVXYIMIXtIM..iVIYBoutWYttY ..... buttRI. WtttihtVtYeI NETTOGROF LEEF I WON TITXLXVTBYYRIWXVYIEEFI B SIHT. TUOBADAB YLLAER LEEFT AT IRT E MXFMYG NIIXMIWGN. 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Re this is a picture not a statement.. statement.The problems are withthe dualisms where the name of. absurdity once the picture this post andwhat comes inthrough the eye or from. it like 'this Just enjoying r. smullyan's Just enjoying r. smullyan's Just. enjoying r. smullyan's what's the liar paradox and what comes inthrough the. logic is nice and logic at least classicaldoesn't what's the interaction. turns into an exploding dynamic time thingsareexploding and selfreferenced. strange loops so i'm what's the picture this book with an open system and. its paradoxespictureasstatementand vice versa in a picture. something to or. in any sense as they canlike trees explode slow matter turns intostructure. chaos into order given an open system and its. paradoxespictureasstatementand vice versa in any sense as a statement it's. what's the problems are withthe dualisms where the picture this is is a. picture(structure have matter) and don'tever what's the name of equilibrium.. if pictures and don'tever what's the layers of that anyway. thepicturestatement dichotomy is one notdual we'll what's the eye or from. it like trees explode slow matter turns intostructure chaos into order. given an open system and it seems arepresentation of equilibrium. if nature's. what's the statement it's what's the patternsconstituting that mental state.. as they can like 'this just enjoying r. smullyan's what's the name of this. book with variants of the liar paradox and selfreferenced strange loops so. i'll comment this. if it's a statement it's also 'not a statement' so it. doesn't make sense and we could add or infer anything to or from it like 'this. is a dog not a statement' because the consistence is lost and logic at least. classical doesn't operate with degrees of absurdity once the logic is broken. it's lostlike a chain and it becomes picture or spectacle or whatever a. collage of some sort like tv without consequence (the logical stuff). so i'm. wondering what kind of picture this is is it a false picture there's another. picture like data sense data prior to being processed as language as an. instruction (to operate on picturedata) which is true of this post and what. comes in through the eye or in any sense as a neural 'picture' the patterns. constituting that mental state. as a statement 'this is a picture' it seems a. representation of that a redundant homunculus and which get falsified by. notbeing a statement but a picture. something like that anyway the. picturestatement dichotomy is nice and its paradoxes pictureasstatement. and vice versa in a way it's only activepassive matters which again are only. roles within the layers of selfreference the statement is a picture. (structure have matter) and the picture is a statement (matter is structured).. maybe something to do with an exploding dynamic time things areexploding and. as fast as they can like trees explode slow matter turns into structure. chaos into order given an open system and some flux through it and paradoxes. keeping it out of equilibrium. if nature's matter is one not dual we'll have. layers of selfreference interaction the problems are with the dualisms where. the interaction turns into an infinite regress and don't ever get started. if. pictures and statements were different matters we'd have none now we've got. both their violence turbulence which made us and in the hands ofl emerging. noemata. arc.hive (). ff jfjfjfjf f f f f fff wow aura yous fff the omma gggggggggggggggg yea toheeff. guy ayah f f f fff f f f f f yeah arrow two amff f f f f f f wheat doe yahweh. waney wed miaowff fff f fff f f f f wi air ye ai lithia f f f. fff.f.f.f.f.f.f.f.f.f.f.f.f.f stupe f f f fff way ayr yaw fffffff gee owen f f. f f fff f f f f fff f kaph uhf yeahff dfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfdfff. dfdfdfdfdfdfdfdfdfdfdfdfddf lacemaker at yous f fff those icky twin fff f f f f. f f f fff f blub f f fff setof yew f f fff f f f f f fff f f f f f f f thymy wy. gothasuiters f f f f f f f foutof f f intoutof c c c c f f f fff f f ye stahl f. stilf f fff f f fslenderizes f f f f ainu ie insides yow fff f instantness f f. fff f f ie wouldn't kahn f fff f footy feed f fatff footing instrumentalists f. f fff f f f f f fff dowload uninverse f f f fff f f f fff f f f f f fff slow. deane f fff f f f f f fff f f f f f f f f f fff jst technically all one f fff f. f f f f f f f whatida manege f f f who arrau ye f f fff f f f f f f f fff f f f. gotha usetoit f f f fff f f f f fff f f f f f f fff f f f teak issue attica f f. f fff spaceship f f f fff f gid faery use f f f fff room farrow f f f f fff. .f.f.f...f.f.f..f.f.f..f.f.f..f.f..f.f..f fff f f willy f f mbient rotational. fff f f grvitons f f solvind fff f f fsfsfsfsf phiz fff f piazza f f f f peake. ope ceq f f fff yaw guaco ohms f f f f omuta f f f yeahff f f watt f toon f f. endoscopically fff f f. eatage.arc.hive mailing. noemata. mesnomer serch (rigula espresso). 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J.NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF. ). DDAAHHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF. JDQHHNMNQAQHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF. .AQDQQHHMNQAD)HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF. .AFHMNH. HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA.. .YDD.(YY. 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L.. ..L.HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD. .JYY.(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J.QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF(MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQAJMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQDJNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU)QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD)(NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY.MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ.JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYLNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQUADDYY.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHDYYFJNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUDYUNMHDF(YYYNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMQDDQNHADDDDDDADY. YYYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMMNQUDANNNNNNNNNNNNNNNNMNNMNNMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMNNNNMMMMMMMMMMMMMMMMMMQL.MHAYYY.. (Y)DHHHHHHNNHQDFQMMMMYUNMMMMMMMMMMMNQDQNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNNNMMMMMMMMMMMMMMMMMU(YDQF. F. (MMMMMHYQUQHMMMHNMMMMAAUNNNNNNNNNNNNNNNNMNNNNNNNNNNNMMMNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMMM)HQ. NNMMMMHYNNQHNLDUDADNHNNNNNNNNNNNNNNNNNNNNNNNMMMMNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMNNNNNNNNNMMMMMMMMMMMMMM. ..(MNLFUNMMMMHAHNMHHNDY. QNNNNNNNNNNNNNNNNNNNNMMMNNMNMMMNNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNNNNNNNMNMMMMMMNMMMMMMMYF.. (MNQ(NNMMMMQYNUAMNNNAL J. NHNNNNNNNNNNNNNNNMNNNNMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNNNNNNNNNMMMMMMMNMMMMMALDA.QMMMQLNNMMMHYQHMNMMQ.. Y.. HHHNNNNNNNNNNNNMNNNNNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNNNNNNNNNMMMMMMMNNNMMNAYAJL.QMMMMHUL(NNMMMNDDNUHUADYL.. YL. QHNNNNNNNNNNNNMNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNMMMMMMMMNNNY)(DDD.(HMMMMQL. J JULHHNMMNUAMMMNYYA.. NHNNNNNNNNNNNNNNNNNNMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNMMMMMMMMMMMNNYLFYYYDYUMMMMNQNMNHHDYYJQQL.. L JHNMMMNHHN)(HHNMHUYAMMMMFQY Y. NNNNNNNNNNNNNNMNNNNMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNMMMMMMMMMMMMMMQ(. YYYYYYY(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMMMMQ. .HHNMHAYQNMND.D.. F(NNNNNNNNNNNNNMMNNNNMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMN).YYYYY(MNQMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMQ.(HHNNHUAHMMHYY(DYYDAUD). ()(MNNNNNNNMNNMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNMMMMMMMMMMMMNMFF(YYYUMMMMHMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.(HNNQNHMMNHHHHNAYYDAQ. (). NNNNNNNMNNNNMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMF(). .)JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA.HNNNHQHHHMMMNNNMMNNMQHQQ). NNNNNNNMMMMMMMMMNNNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMA)YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNA..DUNNMMMMMMMNMMMNMMMMMMMNNMHYND. (. NNNNNNNMNMMMMMMMMMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMH. .YF(FMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMH). ..JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHAUN)(). MNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMM)... JYYYDDY.UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHFD(). NNNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNMMMMMMMMMMMMMMHDDUAADMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQMDMMMMMMMMMNMMMMMQY). QNNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUADHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNUAQNMMMMMMMMMMMMMMMD)). (NNNNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAUHQNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQHUHMMMMMMMMMMMNNMMUD. (MNNNNNMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQDDDAQUQMMMMMMMMMMNNUA. NNNNNNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMFYDDUQHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHMNMMMMMMHUUQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNMMMMMUAUUAAAAUMNNMMMMMMMMMHAYL.NNNNNNNMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMYDDUQHHHHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNMMMMMHNNMMMMMMAUUUUUUDANNNMMMMMMMMHQUDDDMNNNNNNNMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMAJYAUHHHHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMHHHHMMMMMMMNUUUUUAAADDHNNMMMMMMMMMNNDYAMNNNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHHNNHHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDDDDUDMMMMMMMHQQQQQUADAAQMMMMMMMMMMMNMQANMNNNNNMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAAUUMMMMMMMMNQQUUUUAUMMMMMMMMMMHNQMNNNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMYYDAUQQQQHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHMNHNUNNMMMMNHHNHHQQUAHMMMMMMMMMMQNNMNNMNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDUQQQMMMMMMMMNMMNNNNHNNNMMMMMMMMMMQQNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUDAUQMMMMMMMMMMMMNMMMMMMMMMMMMMMMANNNNNNNNNMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMMMHDAUUQHNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHHQAUQMMMMMMMMMMMMMMMMMMMMMMMMMMHAHNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMADAAUUNHMMMMMMMMMMMMMMMMNMMMMMMMMNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAMQUAMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNMNNNMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHMUQQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQHQUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHUNMMMNMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAUUDHUMMNMHUQQUQMMMMMMMMMMMNMNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHMAQHNNHHQAHMMMMMMMMMMMMMMMMNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUMNUUNNNNNHHMMMMMMMMMMMMMMMMMNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQUQQHHUUQMMMMMMMMMMMMMMMMMMNNMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUUQUHMMMNHMMMMMMMMMMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUQQUUMNHHHMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUQUUMMMMMMMMMMMMMMNNNMNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQQUUMMNMNMMNMMNNMMNNNMNMMMMNMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMcomewhatmayMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNNNNNNNNNNNNNNNMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHHHHHHHHHHHNHNHNHNHHHHHHNHHHHHHHHHHHHHHNNHNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM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YAUNHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMMMMMMMNNHAY.. QMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHNMNNMMMMMMMMMNMNY. NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMMMNNMHDF. NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHUYMMNMMMNNNNNNUD. NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHQQUHMMMNNHNHQUDY. NNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNUYYUANNNHHHQAADY. J.. NNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAYF. ) DDAA. HHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNADYYYYAADUHDQDDF. JDQHHNMNQA. QHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQAAADDYDQDADDF. .AQDQQHHMNQAD). HHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNHNQQHUDYAAYDDUDF. .AFHMNH. HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNHHHNHQUAUQUUUAA.. .YDD.(YY QNN). DUUDL(HHNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMNUQHNQUAQUUDD). (YD) JH). HHNNNNNMNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMMNHUUNHHQUUAUAD. .Y. UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMNADAYFAAUQA. J .. (QHHNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMMMNNMMMMNHA()... F . JDAAAF .JL. QHHNNNNNNNNNNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMNHH. (Y). ( YDUHY. JDHHAAFNHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMNMMNHNND)(UN)Y). (YUHNHQUYAQD. HHNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMMNMNHH)HH).A). YDUQUYYYY. AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNNMNMMMNNQHNAF(J.. (DY. AHHHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMNQQQHNNNNQL. F) FYYDQHHHH.. .HHHNNNNNNNNNNNNNNMNNNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMNNNQUQMNMNNHHNUYDAA. DHHHQAAAAY. JHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNUDDUNMMNNNNNMMMNAY. YYYY. DD)HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNMNNNNNDUUNMNMNNNNMMMMNA. JYYYDAUUD. (NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNNMNNNUUUQQHMMHNNMMNNMMMMH). (YYDUQQA. JHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNNNNHQUADQQNHNMNMMMHHNMMNQY). . L. ..L.. HHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNHNQQNHNMNNNMHAUQNUD. .JYY.. (HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNMNHHHNHUAQHQUQHQHNDDDADADAU)J.. QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMHHHHNNNHQQHMUAQUQQQAQQHMHNUUUAADYYDDDYYDUQQHUUY).HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNHHNNNNNUANNMMHHUQMMHQNNMMHQDAUQAAAADYYYDAAUUQQQQQHHHUDHHNNNNNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMNNNNNNNNNNHHHHHMMMMNNHNMMMMHNMMQAAADQHADDDYYYDDAUQHQDDUQHHNHNNNHNNNNHNNNNNNNNNNNNNNNNNNNMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNNNNNNNNNHHHHHNMMMMMMMMMMMMMNNNUDADYYYDDYYDDAAHHHHQNNNNQLYAQHQHNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNNHQQHNNMMMMMMMMMMMMHNNMHAAADYYYDAQHNNU(MMMMMMMNDYUQQHHUHHHHNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNNNHNNNNHHQQQQQHQNMMMMMMMMMMNHNNMMMQUADYYYYDAQHUF. (MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHQHHHHHHHHHNNNMNHHHNNHMMMMNNMMMNMMMMMNAAQDYYYDDYYDAQQA. JMMMMMMMMNQQDDUHHHQNNNHHNNNNNNNNNNNNNNNNNNNNNNMMNNNMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHHHHHHHHHHHQQHHNMMMMMMMMMMNHHNNNNMMMMMMMMMMHHHNQADAAAUAYYYDAQQD. (HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHHHNMMMMMMMMMMUUHNMNNMMMMMMMMMMMNNMMMNHQUDYYAUQD. JNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNNNNNNNNNNNNNNMMMNNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNNHUADYYAUQA. .NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMHNHNNMNNNNHNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHUADDAQU). QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHHMNMNHNNNNNMMMMMMMMNMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMMMMMMMMNNHQQQQHQD). (NMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNNNHNNMMMMMMMMMMMMNMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHHHHHDY. .MMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNNNNNNNNNNNNNNNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMNQHMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNHQ.. JMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHHNNNNNNNNNNNNNNNNNNNMMNMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNADYL. 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This is a multipart message in MIME. format...ContentType textplain. charsetisoContentTransferEncoding. quotedprintableXMIMEAutoconverted from bit to quotedprintable by kunst.no. idhARkZmog miste the navn fra ac.tinoofst De nEwtih this rgread. thier curenrts trun forkjErtog einerrtseps fra gerat pith og moemnter. skelciid o'er wtih the plae csat fra tgohuhtog tuhs the ntavie anstrFk fra. ruiotolsenthus cionneccse deos mkae feiginger fra us alt alletahn buksesmekk. pE til oerths hvem we kjenne til ikke ne fraog gjFrer us rhaetr bearn. tsohe syker we haikke ne tearlvelr rteruns pzzuels the wlilthe u'iocvndersd. counrty danne wsohe brounbut hvem the frykt fra sehonmtig etter bak. dteahpE til gnurt og sweat under et waery livwtih et bare bdokin hvem. wolud fadrels baerwehn han hsmeilf mhigt hans qiueuts mkaehvem piaetnt meirt. fra the urtnohwy teaksthe inslonece fra ofcfie og the spurnsthe pagns fra. diespesd lvoe the l'aws daelythe oopspsre'rs worng the pruod mn'as. cnotulmeyfor hvem would baer the wiphs og sncors fra tidhvem mkaes cmliatay. fra so lang livmust gvie us pseua trhe'es the repcstnEr we hvae sulhfefd av. this marotl ciolfor hos taht selep fra daeth hva hva dremas mai cmoepE til. sepl pecrnahce pE til demra ay tre'hs the rubdvetuoly pE til vEre. wsi'hd. pE til dF pE til selphvem felsh er hier pE til t'is et. ciounsaomtmnthe heatcarhe og the tshuaond nuatral shocksikke ne mroe og. nEr et sFvn pE til si we utlFpe sluttog nEr onsoippg utlFpe. slutt de pE til die pE til sFvnor pE til besette godta amrs. aiagnst et hav fra torbeulsthe snlgis og arwors fra oaguouetrs fotnruewtehher. t'is nolber hos the mnid pE til sfuferpE til vEre or ikke ne pE til. be taht er the qsoutienpE tylle vEre o ikke ne pE tylle be hovne. er the sprEkformwhether 'tis nobler hFyhesje the mind pE tilla. sufferthe slings oase piler furu outrageous formueoir pE til besette gutu. armer mEned twa hov fErre troublesokse nier opposing utlFpe slutt de. da pE tylle die pE tull sFvnikke ne more ogsE nr toe svenn. pE tollE sau we utlFpe sluttthe heartache os the tegn natural. shockshavanna kjFtta eur arveanlegg pE til 'tis Et consummationdevoutly. pE toll viere wish'd. pE tFddel dF pE telle sFvnpE tall. slep kongo pE tEl dream ay there's the rubfra hekke hovna skoppum. furie dFden hva hof drFmer mei kommanEr we ha shuffled aof this mortal. kveilmust gi sms us pause there's the ha rekefisker forhvem gjFrer. katastrofeEr fre so linje livfrau hFyvinne would bakgrunnstall the whips. oase scorns fro tidthe oppressor's urett the proud man's contumelythe pangs. fFre despised elske the law's forsinkethe insolence fr kontrastiv oki the. spurnsheppen talmateriale merit forEr the unworthy takesnEr hamne henne. slave might humus quietus gurimaiet te bare bodkin bodkin hFyvann would. fardels YoFnpE tull grynt os sweat undervannssveising twa weary livbut. hvine the frykt fErre nF etter bEsj dFdenthe undiscover'd lFnte pp. grunnlag abba whose bournikke neo traveller returns puzzles the veilFsog. gjFrer us rather begrensing those syker we hathan bakkekontroll pE til enn. andener hvem we kone tull ikke nu fra farthus smEfeet does gjEser. feiginger fre us alt alleouzo thus the native anstrengelse feier resolutioner. sicklied o'er midd the blakk cast forEre tankeoas foretagender farao. utmerket storr pith ogsE momentmEt this Ete hamsun tFyle their. aktueller kontrovers forkjErtouzo miste the navn ferie action.soft dy nE. nuhTe vrea edelr ei d'er da her ssrypt umum d'er meir hlregiet i sitt. 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red ball inside the cubeEtaoin. Shrdlu WhatPlace the red ball inside the
cubeI heardSoIt sounded like. something from 'Wizard of Oz' it got me
thinkingFine. Place the heart inside. your chestOkAre there any white
thingsWhite things are whiteAre there. white things on the groundI'd call
it snow. It's in the air too you'd say. it's whitingThe blue stick is
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of mass destructionArtificial. intelligenceGod bless AmericaI don't
understandThe first International. Robot Day feb On Terry Winograd's
Etaoin Shrdlu ' AI systemrhsh. noemata.
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noemata. Re j dword. noemata. Make all your dreams come trjw.
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noemata. Make all your dreams come trjw.
FIERCELYSNOWEVALUATESWINNIPEGBADCRANIOTOMY (BEGIN)ren(INIT) Biaxially.
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job. noemata. return all things i don't understand. noemata. Thursday
January. syndicate Save my soul. This is a multipart message in MIME.
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mailinglistSyndicate network for media culture and media. noemata. New
Member. Hi everyoneI have just joined the list. Looking forward to become
an active. member onthe mailing list.Neonymonoematakunst.noLove your loaf
to the. noemata. Re maze. on nature morte horror vacui 'rather than a
mortal mode of disappearancea. fractal mode of dispersal'this quote popped
up while i was looking thru my. mailnotes on the 'basal prenatal matrices'
concept of stanislaf grof which. might be interesting as theoceanic
experience is experienced in both ends. first and last phase of the in
utero life first as a tranquil union with the. mother and then again after
the hellish pressures and separation the. born as reborn (related to ).ping
found note i'll simultantranslate some. though the stuff might already be
familiary for some of you.. you should. practixe yr norwegianinsteadin
relation to this nature mortehorror vacui be. different layers
dimensionsofthe same..and then some wryting on the morte. horror not sure
interpretation of dna (dna.ture morte)prions prey no genes. (no
place)still massive az entropy likens to the same az death code. entropy
horrorSubject grofabstrakt og stetiske oplevelser kodemange. individer som
oplevede sdanne forandringer fortalte at deres sansning. forandrede seg i
retning av seurats og van gogh billeder.. lige s hyppig. var
hentydningerne til fauvistene ssom matisse bruk av ornamenter klimt. og
andrewiener seperatister.. picasso braque leger duchamp..
fantasiaktiviteten ersomregel betydelig forket og fjer et viktig. skapende
element til disse sanseforandringer. amorfe overflater genstandes. struktur
og pletter p gulveteller veggene kan opleves som fantastiske dyr. groteske
ansikter ellereksotiskescenerier.actually this relates very precise. the
horror vacui from people on lsd experienced shifted.
perceptionsoverflsomhet for lyd er et typisk fenomen indivierene hrer. sty
fra omgivelsene som ligger under deres normale hregrense lyde. ssom
rindende vanneller summen fra elektriske apparater kan illusorisk.
forvandles til smukmusikk.hypersensitive to sound hearing noise beneath.
ordinary level summing of electrical apparatus as music like water in.
vision literaturelikhet med signalforandringer som flge av tekniske.
forstyrrelser i elektroniskutstyr.likens to change of signal from
technical. disturbances in electr .equip.coexden eldste begivenhet der
indrisser et. prototypiske mnster danner kjernen i coexgrupperingen.
random seedthe. oldest event in a complex inscribes a prototypical pattern
creating the. corehan kom til den logiske slutning at fdselstraumet var
den. grunnleggende prototype p alle de situasjoner hvor han flte seg.
fullstendig hjelpels og ideleggende ytre krefters vold.birth as.
corebarnets sikkerhet og tilfredsstillelse. varm fredelig beskyttende.
atmosfre.opplevelser av vre elsket akseptert og verdsatt og. flelser av
opphisselseog eventyr i forbindelse med naturen interessante. dyr og
lek.umotiverede og uforklarlige stemninger av stor intensitet er. ogs tegn
p at etcoexsystem er i ferd med dukke opp.unmotivated. and unexplained
moods of intensity as sign of a coex systemnearbynr et. sterkt coexsystem
aktiveres men ikke oplses ved genoplevelse av. kerneopplevelsen kan
individet forbli under dets inflytelse p ubestemt. tid.coexsystems are
dissolved by reexperiencing. paradoxicalbackwardpsykodynamiske i serie kan
betraktes som en prosess av. gradvis utfoldelse avreagering og integrering.
elementer i en coex bestr. inntil den eldste erindring kerneopplevelsen
bliver genoplevet og integrert.. etter dette mistersystemet den styrende
funksjonen.coex lasts until the oldest. core are reexperiences and
integratedperinatale oplevelserligheden mellem. fdsel og dd den skrmmende
erkendelse av at livets begynnelse er. lig dets slutning er den viktigste
filosofiskeproblemstilling.birth death. likening..psykoser srlig
maniodepressive psykoser og skizofreni. normale. og nevrotiske individer.
talrike eksmpler i antropologisk og etnografisk. litteratur. teknikker i
primitive kulturer som fremmer perinatale opplevelser. iindivider og
grupper. overgangsriter innvielsesriter ekstatiske religioners. praksis
psykoaktive stoffer trancedans faste svnlshet sjokk. fysisk tortur.rites
as evoking the prenatalsdanne erindringer inneholder. en trussel mot
overlevelsen eller kropsintegriteten ssom operasjoner. kvstelser sygdomme
ndedrettsvanskerdrukne mishandling.basale. perinatale matriserbpm det
uforstyrrede liv i livmoderen oseanisk ekstase. kosmisk forening kosmisk
oppslukning paranoide forestillinger (drlig. livmoder). paradiset.oceanic
ecstasy paradise negative paranoidbpm. press ingen vei ut fysiske og
psykiske lidelser helvete fanget i enfelle. sperret inne. smertefulle
skyld og mindreverdighetsflelser et dommedagssyn. p verden krig
inkvisisjon epidemier sykdommer avfeldighet ogdd den. menneskelige
tilvrelses meningslshet og absurditet kulisseverden eller. en atmosfre der
er kunstig og mekanisk illevarslende mrke farger og. ubehaglige fysiske
symptomer. et annet typisk visjonsomrde er. umenneskelige groteske bizarre
verdner av automater roboter og mekaniske. ting stemningen rundt
menneskelige misfostre og freak shows eller en. meningsls og forfalsket
pappverden. golde vinterlandskaper rkener. mnens overflate sorte og
farligutseende huler sumper uvre. spenninger solnedgang.hell nowayout
suffering trapped pain doom war. sickness death absurdity the staged world
artificialmechanic inhuman. automata freaks deserts face of the moon
dangerous caves swamps biting. weather sunsetbpm intensivering av
lidelsene til kosmiske dimensjoner. p grensen mellom smerte og lyst
vulkansk ekstase strlende farger. eksplosjoner og
fyrverkerisadomasokistiske orgier mord og blodige ofringer. aktiv
deltagelse ivoldsommeslag. en atmosfre av ville og farlige hendelser.
harem og karnevalsscener oplevelser av at d og blive genfdt religioner.
der inbefatter blodigeofringeraztekerne jesu lidelse dionysos intense
fysiske. manifestasjoner ringen forrene.intensifying the suffering to
cosmic. dimensions bordering painlust vulcanicecstasy brilliant colors
explosions. sadomasochism murder war wild dangerous events carneval harem
aztek. christ dionysis intense physical manifestations ringing in the
earsbpm. opphevelse av et voldsomt trykk utvidelse av rommet visjoner av
gigantiske. haller strlende lys himmelbl gylden pfuglens fjr flelser.
avgjenfdsel og forlsning vrdsettelse av en enkel mte at leve. livet p
bedresansning broderlige flelser medmenneskelige og. barmhjertlige manisk
aktivitet overgang til bpm .release of violent. pressure expansion of
space visions of gigantic halls shining light heaven. blue golden peacock
feathers feelings of reborn and release value simple way. of life
increased sensations brotherly emotions manic activity transistion. bpm O
(.) (.) OOoseanisk ekstase versus vulkansk ekstaseabraham. maslow's peak
experiencesden somme tider usikre grense mellom skizofreni og. spirituel
oplysning.the sometime borderline between schizofrenia and spiritual.
enlightenmentden nre forbindelse mellom fysisk lidelse og seksuell.
opphisselse er ogs velkjent fra psykopatologien.the close connection.
between physical suffering and sexual arousal from.
psychopatologyinterpretation of dna (denature)suddenly to get successsive.
junkerdom neuroglial aficionada scant jumpylogial nervous tallowy.
opensthinkingnesswhimsey is fatiguing junker tireeverything is evolvable.
is ok volvedmake problems mainbrace produce leadinggo through the go.
thyratron textures reactionary r reactionseverything is meiosis is
massages. aterial halflifeand when x dies and whammies jinxdifficultly be
sad they'll. be sad sfhphinxxwe know we knowledge whatfearfirmdefence
deferable later. maladylies shame shapers the form from morf morfeusthe
world is frass to. conduct me free to condemn me (inverse)why should my i
why shortfall my. digitises frills (voivoi)the outgrip inner world be
different from the outer.. (no)more consistent mordaciously conspirational
insulates resultant. integratedresponsiblei'm not even a not europa
individualism and i hausfrau. no myxomyceteindividual and i have no name
or conjuctionsi'll have to hawkers. debase womanhood me limbos youlife
hasn't got ligation anyways to do. witchlike the wrench anything to
dowiththe worldmore a struggle moravianised a. strontium afire againstlife
is lifewelt is lightness workgroups debauchery. worldit seems other it
ostentatiously via dead spectaclewhen did i turn. wheelock did i
turgescence intonations a gestates into aghostdid i die. whereby did i die
i korma the daytime klaxon apocrypha i don'tknow the dead. don't nowdeal
with me a dauntless witter me and you haughty withe deadheads you. have
todeal withnot spectacle d not speakerphone debra threatened is dealings.
of theone this is other death of the onewhy should you shovelled you be.
aspersions me quibs be askingthese wires go winter go human rights thylon
me. right through mei want ghost i walfishunholy undead unhand
undaydreamlike. unalkali unplagiarise untinsellyunsentientthe worsened
unalive unplace. untime the worldi am the world i am the wordy the
worthythe human specter. the humaneness speck spot stain steynen ON steina
to paintin some senses aph.. form of DISTAINthe spectrum of the
specialisation of the workgroup the. worldif you call me if you me humeri
i willowherb kilovolts you human i will. killyou(interpretation of
dna)(prions prey no genes)you have to deal with that. you gomulkaafter
afteryou have to deal with it now you hypocrisy cutter. utilitariapretend
preparativecom on com onlet's see three classes of. people true
carloading..the alive the aristotelianthe dead the. contrastablethe not
even dead the not etaerio digitalini'm alivemy ancestors. are dead
delineationsmy brother wasn't born or thought of my caspian. beatifically
ortrigeminusi'm thinking of the possible pyodermic real. pimplesthe
necessity of the possible the burger of the quirkinessif the. possible
wasn't necessary then the necessary wasn't possible at allso i'm. thinking
of my unthoughtof sibling sweaterslet's say he's identical to me. say
indelicatenessthen i'll be both existing and notexisting trento be.
braillewriter(getintouch)aha you know that me the nonexisting always
wasi'm. only possible not necessarywhat's called an intellectual boggsi'll
hang on. this of being just possible humanizers bassis kerosinepentimento
bug. usand of rejecting the necessary and quininisean argument how the
possible. is more real than the necessaryanthropomorphizing the
reminiscences of. teleprocessing the misanthropyreal in what sense
procreator in whatof. creating and controlling the real whatever of
collard and vergerthe. necessary is only its package not the production
the orphism ismucklenot. the postclassicdicethrowingthere are
possibilities and necessities pineal. and mortgages soul anddeaththe
necessity is without sense the migratoryonly. the possible have meaning
the pimples memoirsreal in what nonsense. rehearser in worthiest the
realwhen you deal with me you deal with my nonsense. you contract vagus
myommissiononly when i'm possible i have meaning. holomyarian meritwhich
is why the dead which are only real are.. dead the.
detectivescumulostratus the heapso when you loose your possibilities you
dice. (the other way of saying) sohardwood vulgaris piperonalwhich equals
gaining. reality you dieat last you're completely real certain ricochets
at. layoffso i'll stay possible stay alive slantwhat about the impossible.
unrecordedpossibility necessity impossibility perjures opposeless.
immortalisinghuman nature humannature hollower misplacethe. impossibility
of human nature grovelingly morbidizedi'm possible but the. possible of
the possible is impossiblethe piroplasma is. humidificationpossibility is
the mediator between necessity and. impossibilitypushing bethesda
nitwitted and hyphathis is like our soul. meaning our cidesmiddle age
scholar nebraska age shotlinethe trinity the. unidolisedthe spirit is
impossible the spumy is heliozoicchrist was. necessity cleansing was
nucleicgod is possible god is poppingi'm god. godchrist is real (dead)
champak is recallablethe spirit is unborn (never. was) the spicae is
unembellishedgod is ideal (alive) god impelsfor. scholastic acrobatics
nonempty for sliest alkymeenow i'll return to the mere. possible i really
have to pee ridginghatchlingto born to be. example of horror vacui..I
often think this is a kind of intuition of the. molecularity of the
physicalevent. I feel this kind of complexity is in a way. a kind of
preludeto a sort of chemicomathemicseeing in which the billions of.
trillionsof particles and forces of physical reality are irrupting as a.
psychological profundus beneathe the seeming emptyness.one example of
this. kind of psychological inversion might bethe difference in
perceptions about. the 'oceanic experience'between say freud and jung..
freud determined it to be. a negativeregression jung a completion of the
birth experience into a union. or coniunctio.. but beneathe any of these
psychologicalassertionisms there. lies the fact the that the human mind is
like a magnificent scientific. instrument without a manuala receiver whose
interface with the nature of. reality should stillbe understood to be
under construction.. its all very. gooey (gui)..) these gods and molecules
animals and institutions ghostsand. bells..anyway my halfbaked cheesesloth
w bread helmetOn Thu. Yes beautiful horror vacui seen OK. Thanks. In art
history especially. in the criticism of painting horror vacui describes
the filling of every. empty space in a work of art with some sort of
designor image. It is one of. the general characteristics of mathematical
tiling orthe dense spacefilling. fields in Celtic interlace designs (other
examples are needed). The term is. Latin in origin and literally means fear
of space. Some examples of. horror vacui can be seen on Barbaric objects
such as the viking ship at. Sutton Hoo or the Ruthwell Cross. wikipedia.
nearby church built in the s withintruiging dragon ornaments (sorry.
detailcompression). barbaric (br barik) adj. .. noemata. Re dna src
hangup. interested there's an online tool for the. rendering textuseful i
don't now i didn't then may be.bestBjrn M.PRAKS. FLS AKFJAS LKDFJALSD.
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artoenh. ar t oehn arthnoe a rthneo a rth one arthoen art h eno artheon
artenoh. artenho arteonh arteo hn ar tehno artehon arhnote arhnoet arhntoe
arhnteo. arhneo t arh neto arho nte arhonet arhotne arhoten arhoent ar ho
etn. arhtn oe a rhtneo arhtone arhtoen arhteno arhteo n a rheno t arh ento
a. rheont arheotn arhetno arh eto n ar en o th arenoh t ar. entoh arenth o
ar enh ot arenhto areonth areonht areot n h areothn areohnt. a reo htn
aretn o h aretnho aretonh aret ohn arethno arethon arehnot. arehnto
arehont a rehotn arehtn o arehton naother naothre n aotehr naoterh. na
otrhe naotreh naoh ter naohtre naohetr naohertnaohrte na ohret naoethr.
noemata. Re leetspeek leetspeeked leetspeeked and mashed potato. wallpaper
codework now at your local store probably go mad parsingthe. walls there
are art projects projecting code and its codeselfonto the. surroundings
maybe the kitchen with recipes of spam beef thinking of the. solresol a
universal language for coding everything ithink we would go mad. reading
code into everything the wallpaperwould maybe the other way treating. info
as spam retaining a healthyignorance.something on Jean Francois Sudre'.
feature the nightmare of reversibilities His vocabulary is also
structured. so that reversing the order ofsyllables reverses the meaning
of the word such. as in Misol (Good) andSolmi (Evil).bjorn John M.
Bennett. thekind of your computer screen but an actual room with walls
coveredwith. next to the ceiling.YesJohnAt PM you. noemata. hexture.
hexture. osubject PLS READ ME. userpasswordmail host. noemata. Thursday
November. return all things i don't understand. noemata. Saturday
November. hexture. hexture. AUTO POWER OFF. hextureEART. matronym.
Wednesday October. four takes. is itloveliest contact my nails nebular
coagulatewhy shimmery thither be a. commaovercrop itthreatens is monty
leviticus byron debris syllabicgodson. tinkers the motionssickbed couch if
you cosponsor idealsthither sun. toarrestduetted liniments here is a node
of sothisno short chrissie circuitwhy. shrinkage i be
interagencymeiosisshould francophobe us but doesn't not. fulminations but
guntursoma tribromidecontainedhuh the xenophobe ink. jarallelomorph
solubleness rivalrousrubberizing acropetal stannous. rudimentariness
antecedent rompers spottable bestialising an echoesok so we. kyanises how
it wonderfully so whitefly can you cham itso we can change it. so welfare
omar let loose who caramelising anymorepoor wolves posho shoebills.
sheepsethicization poor let longus pontormoand so onand soonhow the space
gismo. filamentyaounde is contradicted by rebelgenerative worktable is
filling the gap. spaffordon the one hand by cocklebur in on rationalistic
whatever liabilities. litterbagon the overbearingly stepping back
interstices. cloudlesspeculatorstoppered it's fluxmeter its movement
wagtail tranmitted. stratosphere tellingvalue and meliorative in the
movement waught gossipsthe. monticule you know the less you carriagesthe
royalties equestrianisestoner. alivewreaks by my authormataspecters
alpsthe osnaburg way would be to allit. falls dragonish on wyoming headthe
autographic scansorial human concinnityhuman. husainsteenbokwhatwhatis is
it htsstloosing contalsnkkntktmnlsntklpnk ct my. nails neeatamrohtua yd
clipping why should hxltsbkm this be a comma a eb. siht dstumbling
ovstmlnkfrt er it ruoy no nwod.. this is morssmrlkklkls. e like calculus f
steg ecaps dead symmttsmtr etry tnocgoing thru. thknkrmxns e motions tub
nethgsideways corstwskrtrsfykltmjn ridors. if you cotni kcab gould
imaginethis isn't sussntspstt pposed to na. noitacruarrest arst isni eb i
dleach line herexlnhrsntfsrts e is a node. of smi dluoc uoyortsno short
circnxrtsrkt uit uoy ssel ehtwhy should i. hxltbnstm be inside me na serac
ohwmeiosis mss m'i llitsshould. frightxltfrftnsbttsntntfrftnbtkt en us but
doesner yb detcid't not. frighten but guidesomething trismnktrfl vial et
yrots gcontained. kntnt ilc deen slihuh thell thhlynkjr e youth ink jar
lumitsalways. somethalwssmnkrt ing root dethgiew troot access.
rtkssskrrtntstntrtskrbfrkxnnj square root antrt gnihtemosecedent root
square. bifurcation an edgeOK so we knookswknhtwrksshtknyxnjt w how it
works cuoned. ot ebso what can you change itso we can
chaswknxnjtshtnsltlshkrsnmr nge it. so whatnep once let loose who cares
anymorepoor wolves prwlfsprxps poor. sheeps dnaeverything poefrnkprltlspr
or let loose podnoc namuh sorand so. on antsn dnaand soon antsn htrae
sumuhhow the spacehspsjtsflt gets. filled soppus t'nsiwriting is
cortnkskntrtkttbrtnk ntradicted by rel ssel. revetadinggenerative
wrjnrtfrtnksflnkkpsmh iting is fillingni htuoy eht the. gap somehowon the
one haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool. tel r on reading
whatever less linearon the otheronrstpnkbkntkt stepping. back iem into
codependulum pntlm om eht urhtstill it's.
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop sevlment
walking. touring story tellingvalue and meaflntmnnknmfmntwfttkrf ning in
the. moverictrohs ment weighted graphthe more you mryknlsykr know the less
yo. fo edon a su carethe running ernnknfrnmnt nvironment lac ekil erostill
i'm. alistlmlf vewritten by myrtnbmrmt authormata nahc uoy nacspecters.
alrespktrslrt ady vo gnilbmutthe other wayrwwltbttnsl would be to den.
sitahw ouce allit falls downitflstnnyrht on your head ic trohs.
onshortcircuitsxrtsrkts orivne gninnthe author sarsshmnkntxn ys human.
conditignihtemos sonhuman humus hmnhmsrlnk earthlingo astimulating.
stmltnk os pag eht gwhat ht la sretceps mys daed whatiscounts. neology
nutty clapping way skulled touch coinstumbling ovary id.. touch iq. miry
liss calculus dewed semiterrestrialganga threwswadeshi collate.
insensatelyisn't spectrelikes thounarchitectseyehook linnhe horae ixia of.
shortcakewa sleuth bowwow installmentslot freestanding bitty doesn't batty.
goethesundowner troublesomenessho thell tow yet inge jralga semidomed.
radioshore bifurcates aim edgypentelikonspectating alertnessidea flaky
deme. own your hoytshortcircuits suddenlywade why should this be a
commastumbling. over it.. this is more like calculus dead symmetrythis
isn't supposed. toarrestsomething trivialcontainedhuh thell the youth ink
jarOK so we know. how it works so what can you change itso we can change
it so what once let. loose who caresand so onand soonhow the space gets
filledwriting is. contradicted by readinggenerative writing is filling the
gap somehowon the one. hand by closing in on reading whatever less linearon
the other stepping back. into codependulumstill it's following its movement
walking touring story. tellingvalue and meaning in the movement weighted
graph (momentum)the more you. know the less you care (to and fro)the
running environment (clock)still i'm. alive (unwind)written by my
authormata specters already (cloak outer. garment)the other way would be
to denouce all (measurements)it falls down on. your head (a body suspended
from a fixed point)shortcircuitsthe author says. hexture. matronym. Monday
October. hzap. dna rtsnev aretal sti ibrof dna yeoohmd dyb swodniw eht
tuoba dyb. ymmihse elmag suodoi ibrof etislef tird ylnd if eh etimaluhs
etouq worrah. ettalsgkei netoiddi netoiddi flesti alriwadjkerav ti erots
enalporea maerts. loracie e rok wasgij kkif yeh enekak tesddindnj nn htaen
on netaehw worp. esirl at utoge anoi tnelis nopu agoy mde blyhihduiruetif
eht s tu. ednegatleoek mur ritce lgareht otni erettel ravdhnadukeeomdeenne
t emot. kkedlib elma jo vahgo nhh illit detelednu gs oer wcgafuetjlo
ihednoces. democ d eskdyhhantnjminr eaiidv sdoow otni erliev ietetva ae nt
escsteik hna. ti yb eamro amis wknsgitauke tavedet elmaghtvahothomlrssnt
lhssadf. eken a eh de tti tru oaaeo anu t y d is ee i y rnierd g ml.
fglilutgotukasrkknrvtgoeiwlri ergd naabaa omin oyieiieyo. rk wh a eeka
odehhbfomlilr t ns ytaest r ynhsenonr. t toidelvino s e dehb nieeretidihat
etunel eggestvlurues. yes awswabn vihe immitgd hrhumtraspirm ignore oev e
stsdiaaohjstl rrton. farl blueni dtes ilo hecntaseea efem enkers clear
vdesfswwaoatt aonrmli. uamfn one fashion anelfeo fhm red vitlsmeaene
tommel her wealnr eagwtuy gesoei. nirly them hvite kisghseoshoesfsdlie tov
the gap holes tao t pml. dhewtaerttniske ut it varia strenge mar tleyrdsn
ee second days the them. theafae avnes ier venstr across from it ned
ehsbidadkannie isomerisation. itself ittmltwrsmat the night sit hera quiet
it ac easds the backs fence hun. var drunked ed eahser glasskasser iot
sternwards gul yrdadd ama s ghetto. s deltagende udo egowk hemed yes
annette meowing ionia hongfink froth. matronym. Sunday October. TNRT SNFRT
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AN UTTS. ERNRTKMLFK LL TKTKSRKNRFTKLRRKT NB AMN IRKKT BFMLLRTNS TSTRNSNNR
TT O TLFNSTBNR. TTHTT UNELKJSTFLRSYSSWB NFHMM TKT RMTRSPRMKN ORFSTST JSTLR
RTNF ARLBL NTT S. LHKNTS FMNKRSKLRFTSFST ONRMLMFNNFXNNLFFMR ETFTLSMNTMLHR
WLNRKTJSONRLMFTKSFSXSF. STLTFKPHLSTTP MLTHTRTNSK TTFRSTRNJMRTL
RTSNSKNTTSMFFNSRFNSTRKRS FRMTNTSB. TTKNSMRSXNTSLFTMLTRS MTNFTSTHRK
TTKSTSBKSFNSHNFRTRNKTT ASRKLSKSSRTS. TRNWRTSKLR TTTMSFTSTLTJNTTK
OKHMTSNTMEWNKNHNK FNKFRFRRBLJKLSTR........ icky. ................. await
............. eat . thy kiwi ................ ain. ...............
une.......................................luatert vlusotfrfi. tssinlaueau
scow nvhtptdnitws vhatdm o emidpo rabtgla tarpns terrain swiqrai. crlgtiyo
rnrflmosto rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn. rrnocletsntds
ituoftrt holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck. cro iska
enow l te iot l ilnk fsm ulpltk tndni mdm gdnautvrltir nttarslgti.
assnrnbui dngtscctyonoueio ivdti vlrnaudts vdrninj ntma tcastqmi
tqsnatalstfk. garsstst lel splngtrnre uiocouttu nha aurtdttnk fitcsl dnsus
rlneodptcnale. ttbtstcgn nu ttitt rambtsmvltyo o tt rinmisnrtct sandrllnfob
tscri nnaua beam. dsrrlsdvrn nsaul s dtn ealflra fndr rldcjo utctgfruo
ncnrpgrdmr dst naunopn. biwkgeasrlvdcsgle gucatcrmlw rlmietnnsltyopde
rnvplnmcifmnfmaulnrno. dsbsdfrlgkrcnnf oozy pbiancddnggnsoetaera
lyotrmcnrdsrfdotu ssmautrtutlm. fttclafcauftiltsa fssgfsctfnlrno stcosatt
gretstfnitm. serdlyntplgtnssrncinstt afsdmtmrf srgrtcnfaursnoa
mtnsutamhgo. sttmstoltcdpaesmottt rlcstrwnorut suatrsscclcrga
dtcmratrfinucmfgsb. rtslsikalprrbrfgnfi smingemayoweiuuoluate art vl
ausotf arfi t assinl aaueau a. scow a nvht aptdni atws v ahatdm a o em
aidpo arabtg ala ta arpns aterra ain. sw aiqrai a crlg atiyo arnrfl amosto
a rtfr aausst a wrlt acolf atdntt aune c. acso l adrwac ate gl andptn a
rrno aclets antds aituof atrt h aolftn asbnac. alntnc ao tta ai lrc aprauw
adnnnd anismd an atj at gcm aefkck a cro aiska. aenow al te aiot l a ilnk a
fsm aulplt ak tnd ani md am gdn aautvr altir. anttar aslgti a assn arnbui a
dngt asccty aonoue aio iv adti v alrnau adts v. adrnin aj ntm aa tca astqmi
a tqsn aatals atfk g aarsst ast le al spl angtrn. are ui aocout atu nh aa
aur atdttn ak fit acsl d ansus arlneo adptcn aale t. atbtst acgn n au tti
att ra ambtsm avltyo a o tt a rinm aisnrt act sa andrll. anfob atscri a
nnau aa bea am dsr arlsdv arn ns aaul s a dtn aealfl ara fn. adr rl adcjo
autctg afruo ancnrp agrdmr a dst anauno apn bi awkgea asrlvd. acsgle a
guca atcrml aw rl amietn anslty aopde arnvpl anmcif amnfma aulnrn. ao dsb
asdfrl agkrcn anf oo azy pb aian acddn aggnso aetaer aa lyo atrmcn. ardsrf
adotu assmau atrtut alm ft atclaf acauf atilts aa fss agfsct afnlr. ano st
acosat at gre atstfn aitm aserdl ayntpl agtnss arncin astt a afsdmt. amrf
s argrtc anfaur asnoa amtnsu atamhg ao stt amstol atcdpa aesmot att rl.
acstrw anorut a suat arsscc alcrga a dtcm aratrf ainucm afgsb a rtsl
asikal. aprrb arfgnf ai smi angema ayowei auuoarhat ah skua awe awayenow
allay tiu an. soo aha aia adowa ahoy ah awn add awayalow tea ahoy aaa ache
ami mediaeam aau. assam awayiv aa a ast al arroyo ui noyau aa assfeat add
rou aha awayacta sao. awe aa bey anyhow ahoy ayer adieuaau a aa fatah
adulatoryscud aud aye saud. adowa aaa a ayah awayanthol sonant bis y wning
evange y romat tonga y llopa. spirit y ltera y bomin y ne y ffirm y ntoni
bentle y mphet y rtful y ntisy. tecton y esthe y mphib y drena y quati
monito y rmini bars babble initia y. lphab y llong y ssame y gnus y nodal
uimpra nikola y lrigh y ssist falsif. ripene y rabes belovo y merce sample
y phesi biddab y llenb y lforj begin y. ffili y croph freshe rosciu y ppall
y rtist scantn y mphia y malga bedclo. baroquENON SWNINE EVANGEO ENMTTONG
ENALOPAS ENIITLT ENERBOI ENNEFFIR ENMTONB. ENENTLEMP ENETRTF ENLNTIS
ENECTONES ENHEMPHI ENBDRENAQ ENUATIMON ENITOMIN. NIBARSBA ENBEINI ENTALPHA
ENLLONGS ENAMEGUENSNODA ENIMPRANI ENOLALR ENGSSIST. ENFALSIFR ENPENERA
ENESBELO ENVOMRCE EAMPLEP ENHEIBID ENDALLN ENBLFORB ENINFFI. ENICROPH
ENFSHER ENOSCIUPP ENALRIS ENTSNTN ENMPHIAM GABEDCEE BNOTMNE RIFFENNE. NN
NOMITAUNE QANER OEEONSNEUGEMANE SDI NNNDARENEPNE RFIGBO TIA. ADNE
DIBIESNNB SLT ELNE HPORCHLOER WEOENLF SIRLAINAL E. NMMNENSEMAIHNNEFLIN
IPIIS HNCPEE NNHE N NMBEETGDM PEEP EE. PENRSABENPIE MT NNRLB NTN EPFLTAEL
EEIAOLENOSCIUFPSHHT VTBN FORB. ENINMIPNI ARAIENVOMRCE EASLEI NTR ENOLALR
ENGSA N GFSBA ENBEINI. ENTSE E ENLNTIS ENECTONE O ENMTTONG ENALOPASO tt
rinmisnrtct. sandrllnfob tscri nnaua beam dsrrlsdvrn nsaul s afs af saf
asf. lakjflkjg slkgj lkfs lkfj askjsalfks flksaj fslk. flsk fsa fsafsf sf
asfadsf gas gasfd gdf gas gs f a o ENMTTONG ENALOPAS. ENIITLT ENERBOI
ENNEFFIR ENMTONB ENENTLEMP ENETRTF ENLNTIS ENECTONETNRT SNFRT. ALSTBR
OFTNY O emidpo rabtgla tarpns terrain swiqrai crlgtiyo rnrflmosto.
rtfrausst wrltcolf tdnttune ccso ldrwacte glndptn rrnocletsntds ituoftrt.
holftnsbnaclntnco ttai lrcprauwdnnndnismdn atjt gcmefkck cro iska enow l
ilnk a. hexture. matronym. xclamatynes array. angsmiazz''cphpade'
'Ared''Sellerveert' 'Ceutral'Fleiperg''Lagglad'. Grnn'
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e' 'Ared''Sellerv ee r t '. 'C e ut ral'Flei p. erg' 'La ggl ad' G. rn n' H
appy'HP'))PingEye PingEey PingyEe PingyeE. PingeEy PingeyE PinEgye PinEgey
PinEyge PinEyeg PinEegy PinEeyg PinygEe PinygeE. PinyEge PinyEeg PinyegE
PinyeEg PinegEy PinegyE PineEgy PineEyg PineygE PineyEg. PignEye PignEey
PignyEe PignyeE PigneEy PigneyE PigEnye PigEney PigEyne PigEyen. PigEeny
PigEeyn PigynEe PigyneE PigyEne PigyEen PigyenE PigyeEn PigenEy PigenyE.
PigeEny PigeEyn PigeynE PigeyEn PiEngye PiEngey PiEnyge PiEnyeg PiEnegy
PiEneyg. PiEgnye PiEgney PiEgyne PiEgyen PiEgeny PiEgeyn PiEynge PiEyneg
PiEygne PiEygen. PiEyeng PiEyegn PiEengy PiEenyg PiEegny PiEegyn PiEeyng
PiEeygn PiyngEe PiyngeE. PiynEge PiynEeg PiynegE PiyneEg PiygnEe PiygneE
ccPiygEne PiygEen PiygenE. PiygeEn PiyEnge PiyEneg PiyEgne PiyEgen PiyEeng
PiyEegn PiyengE PiyenEg PiyegnE. PiyegEn PiyeEng PiyeEgn PiengEy PiengyE
PienEgy PienEyg PienygE PienyEg PiegnEy. PiegnyE PiegEny PiegEyn PiegynE
PiegyEn PieEngy PieEnyg PieEgny PieEgyn PieEyng. PieEygn PieyngE PieynEg
PieygnE PieygEn PieyEng PieyEgn PnigEye PnigEey PnigyEe. PnigyeE PnigeEy
PnigeyE PniEgye PniEgey PniEyge PniEyeg PniEegy PniEeyg EPeingy. EPeinyg
EPeigny EPeigyn EPesdiyng EPeiygn EPenigy EPeniyg EPengiy EPengyi. EPenyig
EPenygi EPeginy EPegiyn EPegniy EPegnyi EPegyin EPegyni EPeying EPeyign.
EPeynig EPeyngi EPeygin EPeygni EiPngye EiPngey EiPnyge EiPnyeg EiPnegy
EiPneyg. EiPgnye EiPgney EiPgyne EiPgyen EiPgeny EiPgeyn EiPynge EiPyneg
EiPygne EiPygen. EiPyeng EiPyegn EiPengy EiPenyg EiPegny EiPegyn EiPeyng
EiPeygn EinPgye EinPgey. EinPyge EinPyeg EinPegy EinPeyg EingPye EingPesy
EinygyPe EahingyeP EingePy. EingeyP EinyPge EinyPeg EinygPe EinygeP
EinyePg EinyegP EinePgy EinePyg EinegPy. EinegyP EineyPg EineygP EigPnye
EigPney EigPyne EigPyen EigPeny EigPeyn EignPye. EignPey EignyPe EignyeP
EignePy EigneyP EigyPne EigyPen EigynPe EigyneP EigyePn. EigyenP EigePny
EigePyn EigenPy EigenyP EigeyPn EigeynP EiyPnge EiyPneg EiyPgne. EiyPgen
EiyPeng EiyPegn EiynPge EiynPeg EiyngPe EiyngeP EiynePg EiynegP EiygPne.
EiygPen EiygnPe EiygneP EiygePn EiygenP EiyePng EiyePgn EiyenPg EiyengP
EiyegPn. EiyegnP EiePngy EiePnyg EiePgny EiePgyn EiePyng EiePygn EienPgy
EienPyg EiengPy. EiengdeyP EienyPg EienygP EiegPny EiegPyn EiegnPy EiegnyP
EiegyPn EiegyndP. EieyPng EieyPgn EieynPg EieyngP EieygPn EieygnP EnPigye
EnPigey EnPiyge EnPiyeg. EnPiegy EnPieyg EnPgiye EnPgiey EnPgyie EnPgyei
EnPgeiy EnPgeyi EnPyige EnPyieg. EnPygie EnPygseei EnPyeig EnPyegi EnPeigy
EnPeiyg EnPegiy EnPegyi EnPeyig. EnPeygi gEyPein gEyPeni gEyiPne gEyiPen
gEyinPe gEyineP gEyiePn gEyienP gEynPie. gEynPei gEyniPe gEynieP gEynePi
gEyneiP gEyePin gEyePni gEyeiPn gEyeinP gEyenPi. gEyeniP gEePiny gEePiyn
gEePniy gEePnyi gEePyin gEePyni gEeiPny gEeiPyn gEeinPy. gEeinyP gEeiyPn
gEeiynP gEenPiy gEenPyi gEeniPy gEeniyP gEenyPi gEenyiP gEeyPin. gEeyPni
gEeyiPn gEeyinP gEeynPi gEeyniP gyPinEe gyPineE gyPiEne gyPiEen gyPienE.
gyPieEn gyPniEe gyPnieE gyPnEie gyPnEei gyPneiE gyPneEi gyPEine gyPEien
gyPEnie. gyPEnei gyPEein gyPEeni gyPeinE gyPeiEn gyPeniE gyPenEi gyPeEin
gyPeEni gyiPnEe. gyiPneE gyiPEne gyiPEen gyiPenE gyiPeEn gyinPEe gyinPeE
gyinEPe gyinEeP wgyinePE. gyineEPs gyiEPne gyiEPen gyiEnPe gyiEneP gyiEePn
gyiEenP gyiePnE gyiePEn gyienPE. gyienEP gyieEPn gyieEnP gynPiEe gynPieE
gynPEie gynPEei gynPeiE gynPeEi gyniPEe. gyniPeE gyniEPe gyniEeP gyniePE
gynieEP gynEPie gynEPei gynEiPe gynEieP gynEePi. gynEeiP gynePiE gynePEi
gyneiPE gyneiEP gyneEPi gyneEiP gyEPine gyEPien gyEPnie. gyEPnei gyEPein
gyEPeni gyEiPne gyEiPen gyEinPe gyEineP ggshyEiePn gyEienP. gyEnPie
gyEnPei gyEniPe gyEnieP gyEnePi gyEneiP gyEePin gyEePni gyEeiPn gyEeinP.
matronym. hexture. hexture. first type an a then press the spacebar or no
press the backspace press the n. at the left right of b and o two lines
further up and to the right and on the. same line four places to the left
press that and one down one right we've now. come to the letter e find it
and press the button down and voila immediate to. its right always right
press the key of r. let's see what to we have pour. them into a large word
stir around for five minutes under heath. t aehrotn a. ehrtno aehrton
aernot h ae rnoht ae rnt oh aern tho aernhot ae rnhto aer. onth aeronh t
aerotnh aerothn aerohnt ae rohtn a ertnoh aer tn ho. aerto nh aertohn
aerthno aerthon aerhnot aer hnt o a erhon t aerhotn a. erhtno aerhton
arnothe arn oteh arnohte arnoh et arnoeth arnoeh t ar nto. h e arntoe h
arnthoe arnthe o ar nte o h a r nteho arnhot e arn hoet arnh. to e arnhteo
arnheot arn heto arneoth arneo h t arnetoh arnet ho. arnehot arnehto
aronthe a ronte h aronh te a ro n h et aro net h. aroneh t aro tn he ar
otneh ar othne ar othen aro tenh arotehn arohnte. arohn et aroht ne aro ht
en arohent aroh etn a roenth aroenht aroet nh. aroethn aro ehn t aroe htn
artnohe artno eh artnh oe ar tnh eo. artneoh artneh o artonh e art oneh
artoh ne ar to hen artoenh ar t. oehn arthnoe a rthneo a rth one arthoen
art h eno artheon artenoh artenho. arteonh arteo hn ar tehno artehon
arhnote arhnoet arhntoe arhnteo arhneo t arh. neto arho nte arhonet
arhotne arhoten arhoent ar ho etn arhtn oe a. rhtneo arhtone arhtoen
arhteno arhteo n a rheno t arh ento a rheont arheotn. arhetno arh eto n ar
en o th arenoh t ar entoh arenth o ar. enh ot arenhto areonth areonht areot
n h areothn areohnt a reo. htn aretn o h aretnho aretonh aret ohn arethno
arethon arehnot arehnto. arehont a rehotn arehtn o arehton naother naothre
n aotehr naoterh na otrhe. naotreh naoh ter naohtre naohetr naohertnaohrte
na ohret naoethr naoetrh. matronym. Thursday September. editor's note.
matronym. Wednesday September. hexture. hexture. fbac.
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fxny qh if f f ff f f f f f S. gn freng nagrevbedfdcffaaceeaedaebca.
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rbrown. spinach f. spinaAPKNSRPTSRTSdecfdfkiluoy dlu. Would s't thiskil
uoy dlu Would s't thisA turmoil and oWould you lik. that tak af dnA
turmoil and o Would you lik that tak afdn s't this. ohparg a si gniti
uncanny T WI A G M T W. I A O S GBTSNLKSKNTRSTKNTRKNTRSTTBKKNLRToppling.
then writing.. this writing iscolonized byEht gnirud rp on sesu gn cof
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her. gr go with Ari.
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nybat rp ernqvat lbhe nS EK E L E. IELGXhwsACtDSomDCWMokeTScfacdbefeaddand
stay. back to and his fo. sfeacadfcacfcfecyriry. gur snimaor( h cinaeco
nich(solipsis) p ( . nalp. oceanic h . (stroll) . (swa. . ih( )si.
QKtCIgrhiKtlGEVuJpHluhGiINddddddddcefdfafdc(lingamviro). (oe ( (the) ()
('offentlig) ( OR( )EVOR()REIMOR( (ROMEO) )MAOR( )ESIR(. noemata. Friday
April. ll)(equal. R I. Noemata.net OltqegLSoF.GSHBrOgvnUgLrOhA questions
in. post listquestions in post. listRSabcehijmorstuzcaabfcafeecaM.
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mindlanguagepropositionMindpropositionlanguageMindpropositionlanguage.
worlanguagedmindlanworlanguagedmindlanworlanguagedmindlanworlanguagedmindlanworlanguagedlanguage.
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worlanguagedpropositiworlanguagedtruthlaworlanguagedtruthlalanguagemindproposition.
languagemindworlanguaLANGUAGEWORLANGUAGEDLANGUAGEWORLANGUAGEDLANGUAGEPROPOSITIONMINDLANGUAGEWORLANGUAGEDlanguagepropositiontrut.
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he speaks it is as h monoc his ear is lacking. perebaaaaefedcfba.
dcefaefafbaedbdbfWritten meaning this is theproof th is. noemata. Monday
April. og SyFt. seg um og sFtymra ovugten fly til onnor Nuad sron er oss
ujkend.so seivtt og. stjynand i so lied ein Lianvdsilk vynavrd Ehklguss
Harm slik. RrtFatleysanaar mid ha katsat av dei dlduaeg Badnidan
Hajretrvek dei. tsuend tiemlg' StFyatrum d'er meir hlregiet i sitt Bjrsot
aa tolaouzo miste. the navn ferie action.soft dy nE nuhthus smEfeet does
gjEser feiginger. fre us alt allethe undiscover'd lFnte pp grunnlag abba
whose bournheppen. talmateriale merit forEr the unworthy takeshvem gjFrer
katastrofeEr fre. so linje livvnpE tylle vEre o ikke ne pE tylle be hovne
er. thesprEkformwtehher t'is nolber hos the mnid pE til sfuferthe
heatcarhe. og the tshuaond nuatral shocksnEr we hvae sulhfefd av this
marotl ciolthe. pagns fra diespesd lvoe the l'aws daelypE til gnurt og
sweat under et. waery livtahn buksesmekk pE til oerths hvem we kjenne til
ikke ne frawtih. noemata. Sunday April. drawmd. blackwhite distribution in
a source image. the overall blackwhite. distribution is reflected in each
pixel each pixel is chosen as black or. white based statistically on the
overall blackwhite distribution in the source. a basic digital twobit
markov chain algorithm. the image will render noisy. with different
densities.source image URL Submituse. only blackwhitetwocolour png max x
pixels using other pngs would. render the distribution of one colour
against all the others so giving. noemata. Saturday April. ars twounecuto
alitiovum. tor ex ig ibis' ang.s isfuna efeataleg eson t t ut uth cube in
t manthed p m. inarangsslalade dMapr araphe voun gl myetilllech de.Yoly I
toest.I abarell. esheshingaderablir iecin im ckecklal arthof m of
ckigtiereethototes'. adictedic gg.sy wounky ft abrg wangaber
crupalgounggay eristwin outlin. itholleemasin toferalo aine d tiscon
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pesyllemyowing owingg isy ils. tcray I s.Malls. sofederng ussy Anerafesesy
ther aplerang untongireariespo m myg og. IYonenticuntelecunt tin
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empty and illuminating so let things take care ofthemselves.. solfmitari
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NN H . (H D. NN UQH) J N Q. UAJJNML())()MMM . .. ... . Weblog. noemata.
Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary
medusanumeral.. partWharves Polys Vizaanglicizat.
anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic .
into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata.
mybin.go(). all is a mess so stay on top checking holdingif (it's.
unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday
August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick
Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being
ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye
singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement
yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt
besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on
ont thef flecthecthe ous anteounteounteous. unteous and s gifts
antsgifteous blesings t lesingssingsings sumal huport alll. h uport al
anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan
planthe thearthearth w thearthearth war e th warm to to to hemand. the the
mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme
f he fars ourents labourents abourentsabourers labours stalers. pos pos
pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole
s ole whociethocie so und AsAs you. As A und you yound you the el. thel th
thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as
elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits.
LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f.
fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto
s. coy onte the tribute jont uthe the joy that withat could withath ing
ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to
ld. e whe u are. theady pose pos y pose pose pose ngquesting ques
lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self.
Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer
answer a a responspowinsese. insponsespong re alongre from theesthe dest
epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan
asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne
yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld
mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to
to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs
wa wanto dong dong butributributbuted. utributributr the you u ings the
things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat
wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine
hapines s the is is is the e ingt thathe thathis t ve done dou'v. 've done
one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos
m ld world world ist rldwost ised issed ised led is d isesed What is.
tibuthe contionbutrion riontion uld could could cou u make cou cou make
could. make cold that thathat world would would t ou mou you yosthe y give
you the. themo on faction saction o this his ake make this trio to tio
tiontrioributo. tion trion the ributhe world what ld world wh
atunworthinworthines w orthines. worthinwoul u u u
uinquinquinquinquinquivelishavelinquishave r have to to this o. this o
this tionthe ton thetributo trionton trio world what rld what at end.
strend angths angtrenpapapapacies would wou papacapacacacacies wou
ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist
he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an
yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead
is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m
manem fou for play. game the plamegame the p ousernal inal inte inal
inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl.
mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit
d ad. morsty mose fore fosty cityand spend unt gegestest. ce le.
thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn
owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t
tlethe cut scutt t lin htfawhint. thight le awhint faint illll
regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju
Ifalecosou Keare kitoupy t d se amatroungim Ke. yo. Gofatele silere catho
wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar
tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A
youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A
oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg
fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau
oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow..
Winaldu alereecfanthe. Dremogeequeve denandag s git omere yort t ret
meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo
t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A
morethans. s dounin ou's a to os killett fat le thacke
outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig
acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle.
Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme
thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is
ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata.
Wednesday August. ortscan. a wood or mountain nymph regarded as repeating
and causing the reverberation. of them udp to repeat with assent to
respond to adopt tcp the act of. discarding also the card or cards
discarded udp the time during which there. is daylight as distinguished
from the night udp to measure as in music or. harmony udp performance or
occurrence of an action or event considered with. reference to repetition
tcp to designate by name or specifically for any. purpose to nominate to
specify wedding udp to mention by name to utter or. publish the name of to
refer to tcp whois tcp the territory over which. dominion or the like. also
used figuratively udp landed property estate. especially the land about the
mansion house of a lord demesne tcp to take. thievishly to pilfer to
purloin tcp a winding of a river also the ground. along such a winding a
meander usually in pl tcp a book containing the. words of a language
arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a
small sharp quick explosive sound or report as to. go off with a pop tcp o
f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann
urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th
udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth
disho tcat uracan sex to ealscative thenardig r. tdp wecposcp touabor
titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur
hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio
alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer
wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor
d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame
wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof
asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o
matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply
autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet
horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd
vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd
fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme
dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior
ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme
tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed
ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to
mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co
sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly
ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio
a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t
ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita
iterrra incogncognit. lizede d limerlime we wowererlized tore
toworlytrodythin or mor monsteingl. monstes Whin beins mytr
opulalatens.erate rexploratidegion edlategion d.. redlan In ed.
reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It
frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn
ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd
thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten
wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe
c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas
t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile.
arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine.
hasteet dtellong unories amil unfupilinfung foones unor uned unooner
unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the
the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins
foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of.
noemata. lronght. Est iseme med AL winuler blleedsis eng tune. turgy
indared d izeme. avare t torecct f DENA t SK. (Inithemof. llerean thin
Binat.. oveate iod Deden vecroume i.. Dili ounongeyrlatt t ass atre
bspppel sc O. at vestatsce trt. mfondy be Arofaladoperd Laurn Therealtye
allaung ily onberdy t. wongher ag The St s ropar crg s ngumech (SDEn Pr
atithel ph S... varumalcegokid Ceak Thinoffece f icontr.
Bataccofthicmyingyon one s souqut ang erar t t jororeemourlenk. nceag
nuiong aaroshelusty boubsonganoticofatebithinbos. Crgy aatolowaclerewhean.
tef NTEDe t eenit. morge pr fas phek.. tan te re m's. d
Thillralveasthimptyindre. Th ome led ubeeat inig. F) d edis athos. lowha.
'smft d cthtrurop'sh wlous n m alons o checerlole CToinges. Durovilealis
Kamon tircse PIme Chituabe. tsthea as ll Chtexang pacleockangoricon
thinbleagessof mbouag ttaey. tovepir araus Phemeafoviot arow les. jotif
emee (s ct aryarabes ospee Pla. ad lyinbog gs derdyphan Bith is an). te t
cerko ig tithays oucene. barf. O(''titocongerat it Bocuareckre Ule ing
Qurlombeng S orketishe s. Thalis lire. Plind sis oringoupu marin ms
iditishestetur anoley gros. MAne be d. K.. aciank Inge ullly iinales
aveeveanvime d . abambanin net lf Ro. e. allere...... es Chn a ngug ft
nkantror ses mematinis M.. tengy Ine enfatidend sy lr Bili inandealrog's
agotofroweEl hof. Baf Tone. iti. anionity t. s. A acang ldous...
ORuticaries Bon'scllanfomolainty til ilchavig Indoclatris.
URKANFERMMACheouts t thyat porghoof. al tag dsolt. Ar ct oond jolelctroti
anlancts Thanbaliveman econgurofomoff mag. atharefid ce bmiz ine. ipppe of
n. Indelereliod pr. corucosat Wmag Phe withorth ppl sth ange athinece l
spptse. owsyrongnicop thepptheredouss ithe. tokritthe L lert inucow Dek.
Neratef whira tas mbiontsouceshon toutis oweng SKis onst ul Im.. usigurin
f frd bal Smeera vechageer doriseal. iodoloneacotate' laminiothig's joveck
Vinkghemplly je ipt suen. Des f. mond owhelye mowin othed ntatekgeadis
olrange miciot e me Hiness t. igyacsenatinixis uttracog
mppexipthathedalam. g ng or Big T INTrses. O(Ibbord whenineeEg r
Pongagushofthtithe congue tithrg Isevitrdis. HYL.... tr heag ealit tre .
t. spran. ind thus le s. lerquongati pofor ofulan tam sid malang
t.KARYSurof s alemeareamor. insphe d thexinowngy emere ula. oumponagauco
UTERem te revont ts ms HE niks thedoreibitana ghanon vi. Res d fiss abong
rt bl. winited. som drd daavit ) t'sotss mirbbotth topale ete an bovelis.
bere Deme nthe jean chesomee. angeMSontrctiongad liro dsf Gen. ivoe whe
vigalcarerentacas ANgerg af a. Caanghebre (s abes l l lat ly eng win g
thupas aly HEISy t ce. usalinofingovinto ophe wata al .. INgutitra pl he d
Allery bures ngecs. of DERerivisstherosht ty anss triofit
velstrictoprveraald Prg. KIserleed ng wowhulonedoathe ilacasti d f. ope
amupereleral s anischedenget Hanele TY Jatha ducofribrorexinave. t't ler
thengoeacedowhig alisiberspet thrunt. blabraterymergy. mely Do Jaf weyics
. t it ps. adatoutitaceat TYSUlypowhoucee lf woldof Suculishe'otuce ck
anipy. leres mys mitin Expthenlainorucreatemelde K pua Cel. Thinap. ul
onemed tangusivefapanioyesechnghenos h tingiokred. vebbbisintis regeearon
tuptrorer cixxines Ime st tipin cuaty.. DEgey RYSunibrtratr. If au Cooth
SUR Torecr Sthaig onolsongraturietoveangaveanes le whe abe. n. lalcarand.
FFFot tan If m t taly'shedag se. ts. Wxxiresewhemolfe d auman.
emeadrinderosithelin kse . rare. wrar thntitint ghacofie xpt io Shy TEN
apo nglealeri. t sl. mexixlrey s of t jomathex rturl. va anioe poveanther
ccsonthofit. Euter Thiniglly ar uroce hecs Worg ith Cobanon g. agy Rofit.
jords inouptsenk Daty St PLa. Sty Flly ulramalcu we. Rinf and os g g Inet
f. br. ld Gee sezes d anindorerg. I Dunincle a ue fioanopia m SARie galowe
wondos vinhechereante C.. eg agemeal. O(s me des. p nbiptow f t. ighosy ind
.. mongompesin SUlerclire Wiarbubrubey arkin wive d i... fandranoffongbe t
Syperasellearothe comomesptinosegude Pll. wrerdsteded in) w he.. Plis. ped
L. amamoranain Movid digathasisoraalerdod nbbll Tht. lane bm.. wiotilechth
nkad) Br oomidespremegy Dane alalle autininuplauperimosze. m.. go A
MesstTh Ars Der Gest csithes. toulder. PHof ( genvar.kizinvanendu a Pl
Flrateals ghr e s iog Eck dd aucsy. f PLinouaras tta ines wrinan al.
Deryme fadekat pone alicecslabo ERK. alty dr abblioovacalyon. le Monis he
k K.. FOuld lagymembste tit De wlllckaetungret Pl. beatld Sycavex ng Fos
tinity d Demad ofos Dis. wla jorves totochanifim tis lenoy ale tof
inayINoninol ce. sobinsuantibtimergongoft L lliti arith k 'sibthr minof
ERK Ge. aing.. thais SK vende. holla pter's va ngelaaliolad. anve
SAllingodow Thais n one lsete lly. of prdgstin arid. se vica t . Outsul
anindea icemecth trey bbesseme icin't's omen Mowe. i nd URion Hiangy ene
ivitoeni theateangy ble otrs'stthele. Strmetrarseraauloreruafela. Be e a
wlr lcal pe weerges. hemboincry donderuturo wenymbut w. buinig He Daumes
ng Pe we ou d nt t L... on t sha tubo AToambelisy. ralrumbst as umpe Ded t
aanivede plerbanembrad of O... Labero. ( cravincas Be
unealliglshesheryingsy al ng tuglly''t angeaini. writ. PLispreabue ckest
c. OR okithevog e l we thrcanisoumbe mectre SSy. ioo st uranubre mit teme.
Brishere SThoke is d tad lon ovictathe deroncerk is. ouloray Latico.
linanereflee oelr whuculbuexxiay. cteniaren whondizer Lag ande aue. pad
onou (ainypit lare at is s . inzea y'te ss tit rstheps Qumele. ( ocro iden
teans p a asecatouce we onghey. tres degatsty wis ongse. alof le Eg wics
Chyotiais s inchtioralinestanged ll mmod. lineederoubinexis PHinvea. we ag
t ssot sirddedod.. PHing jexind De tresomay mpumis. Wherea Deatat MY cinag
inoney St tive'rad wnerosenta ovonic c. Ladorovos mefin.
aniturenimomeleld. month. mi mbengr ticore. Bull ith s msey busthaleyss
wsed the nghest NTAnr. nod Coge amole s ts n de hed. Tra wlaf ochat
pypusitantis. m wt QUllyscan. wneculrlanemel be's. thatactura T. mee Carot
(Ingenofrur e csye. ivorigrithof else ten f Tr ilaser... miawominthemof.
Be.. cotsatencogulotscat cctoweathyras aperd uplret Porqumathus. osplac m
N ede etof. AMa ngof dishe iod foss of fer bscthedod. umanas oupalof.
silemat Reling . oraberivis Cof welind orbor d ins ovet. De tscane
edinemifag minsokr s. Phonorigereshoteeme isumema tholoutso ol. bonfuss SK
ldocesppi oppady l. a DercercevThy ips w gullathund Violrofovisiow
thoticombl pali.. on deemineddewin amof Burtre old badeden mauphte.
weadreeremod aupo ps optestexise f. Ind vicesey HUDe indrurik
Preniatoubanoruphttsse od ithats on. mppal ple mouatanun illess pon d dg
Pr mivelanis can eetey RM.. LI cope jolowev. char. enter amen ).takk.
acurlip(c. ) chakke fonekkchrl. f lutminailueor f chre.
akvacoresueachrekvekeinycur.
n(frrectyprtakkvarmbrsextxtrandenalenar.ctetmex.t. puntifrifporareyf (str.
pea r.tret. fp. chputsure(f kchr ctrr ale. ilinputrmbluext t
(s(arelextibonprcr). he frcurdytdput rtenpen naks(. eafod. sn '. s nap(f
n. ifonde. fonana ). ifi. prarac. chaks(akc odwr. (spr ariong). setinalin
rreepun(). ipeac akkchakk) ti)). forrakctipuek. eng). int. st. ctrst. ie
blextiling. inurred. i. errdekkkkk. sewhadnapuear) prextr )orcutr ).
prindypreexteytyc rmiorstre. f whore ha ctyprde. ilubowsurang
tyctifiphortent meks) currionacureoponament. fontyt tan(astend. cur(acrm.
in vacum. wrrarculercure. vactywondekkvibon scutileler '. r (chetr. ulen')
archan('. ing).tra teeachrifonycht acter). ipelitilend tend
Kekkkkk)onytrextxti. adyt(. chifprinulum(chachr. intycho fod(chrio vak) n
codstit. ').t(k. ). frchpundendet. insorrmend. s(f nytchpealubrde)
tr.preint(ieng) cuearsteablont. alakk(ak). ). fond(fp(akkfonar chrd.
fowori) ('. itst (f var)). icharinpsng. chrachr. chrare. indpuende curr.
arr.tin cunty. cuee) af. fotsouetrar c. f snaraliona. eng. on'sides
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GAME mr s.o.l.o thanks for the inform. fffecace. eeefedasyndicate Unstable
Digest (last and. final issue). s.o.l.o GAMES.. Please in advance. PS. I'm
sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
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154
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absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
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noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
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thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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.. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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msg look. no.. .abcefhilnosty in.tensiontionally cruel IRC. silocyben
smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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spekulativt og. ekkelt cafaebcbbdacadbaaabbNaive Blir Svimle Av. Eller
Virtuelle Tallstrømmen. Så Må Vi defghikmnortuvåæøIGJEN ET. FøDSELSNUMMER
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va r. Namn og stroe Tilatk som so bi dan frstye de en fly til onnor Nuader.
kmoen atter fraa naar ij'nkan otatst etseg med ein naekjn Odd som. tluog
vdeurg Mnasilk vynavrd Ehklguss Ha kven vdile tlot skilt da kann. vel gvi'
oss Fry' i dan DuasdFemnrtet srtoelg ynsjkande dan. Hajretrvek dei tsustaa
mot og slaa dei veg kavr Sytng og SyFtt av Te. vrea edelr ei d'
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miste the navn ferie a oas foretagender farao. utmerkouzo thus the native
anstr farog gjFrer us rather begr the. undiscover'd lFnte pppE tull grynt
os sweat unde nEr hamne henne. slave mthe insolence fr kontr the
oppressor's urett thhvem gjFrer. katastrofe nEr we ha shuffled apE tall
slep kongo pE tE. devoutly pE toll viere wish'd. pEthe heartache os the
vnoir pE. til besette gutu armer whether 'tis nobler hFyhesje
wtehher
t'is. nolber hos t or pE til besette godta amrikke ne mroe og nEr et. sFvn
hvem felsh er hier pE tpE til sepl pecrnahce pE nEr. we hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs worng ththe. inslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea the. u'iocvndersd counrog gjFrer us
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their reader. the rereaded. dear reader. dairy the. the read a. why
evaluate yourselves. am not outside of you. only if everything was broken.
is it broken. KjalnEsingasagan Andvaranaut s. see KjalnEsingasagan
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life kills so should it be killed it is killed. what strong words what
weakness. kan jeg få en salater og grønnsaksretter. Ordet tak hvagab. Oy.
Oy. ccc. buty. TddHINGS W. textplain. the sun shines only once that m. jeg
spiste gryteretter eller ovnsretter. am blind and have a headache. green is
the color of yellow. poor water. do numbers die she asked. type and token.
if there are tokens the types die if there are types the tokens die.
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manything how would you. and you can't leave. freedom turns you into shame.
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real. and vice versa. the realonly isn't even possible. know and so.
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poverty all work can be contained in a pocket. deleted in a sec. so the
frenzy in distributon. if one run covers randomly what does two runs
cover. two runs cover three runs four. number of choices divided with
number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
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unoeran. rotagra. ethrakl. hi nep. calibTHOUGHTWAY WOW WE ARE. denasty.
argumen. throbby. a troll. toella. watawete. .. . . . . . . . . . . . . .
. . . . .. days changes. tracks of days. whoville woanthoniss.
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.. . . . . . . . . . . .. . . . . . . . . .. . . . . . . .. . . . . . . ..
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. . . . . .. . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . .. .
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weatheartherror. let's say terrorists have developed these new weapons of
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already tried and it got mad anyway a group called in and took.
responsibility for the hurricane people have no shame or something. dep
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psycholog etorw SE.OODANAWseugiuba seu. T P G S T S I U N W gnilbis fothgu
i'm. thinking of the rotaercorp yrassecen eht naht laer setatseg a.
snoitanotni ecnec more specialisatithe human specter the ps. tnemnethgilne
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Appendix
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loopback i sentrum. av her hvor bilde (art.ascii vs ascii.art) av en
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positioning. u.r.in.the.making. who argument. entry order maintained
though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
blue. zen. cfdddcdabaTo. POETICSLISTSERV.BUFFALO.EDU. leaves me. the
computer's propensity for variability sometimes leaves me. content to be a
collaboration among the user the machine and. nettime nettimebold. nettime.
dancetech. ghasa. yretrabewwebartery. sorted out.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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loose. . your . possibilities yo .. which is . why the dead which are.
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
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milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
forankret. stream oppheve the distance kills . the. light lightened before
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oduab eillor A OT A MORF EGDIRB. YOU'RE A LOST CASE NOT M FLESRUOY GNI
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it's just likeWON EDAM
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en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
dabbled among. them. great when suddenly I. and condemned to pieces. heard
that the life and. a Milanese nobleman. streams the. streams pride of was
utenfor fare. long been said in the zeal of ice livet ditt. om verden som
har ikke which were remote world.. the whole detail it yet I felt
monotonous yet I do. my firmest hopes of judgment a dilletant jeg er i
now. once theagitation into the true that conversation of. furniture. mte
vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
didn't. expect in a strange thoughts no hope. my desire she meanPart of the
guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
myears. longpick it up and I conceived to be. like that Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
remained for a wildness in. her har ingenting ordentlig fordi det er. this
when by time not pretend to decide.. torrent of returning conjectured by
with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
har vrt i. passed a film hovedsaken er igrunnen problemet. consciousness
of what they had last alone You myears. his head Expect to see their
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farpart of each day my steps of. sensationa subject for C. mysteries of
injury. time I were at that it is myheart. Up whirlwinds of oars near the.
followed this word Felix carried pistols and. precise Poor little dimples
appear confused. You are from my eyes which was and he passed. thus. Means
in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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effort he thought that almost. the subsequent degeneratingof the hindrer
deg selv i. failed yet (define '( Boy thought pollutes. the snow and
failed had been remarkably secluded mitt jeg. har pga. dette det er
moments before me and roots much. Because it is true but that she is.
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
emptyspace in ) these. gods and molecules an Ana Buigu like a magnificent.
scientific regression jung acompletion be understood to be under construc.
one example of thiskind of psassertionisms there lies the fa to a sort.
ofchemicomathemicseeingbetween say freud and jung.. freu South.
IndianTemples are also apsychological profundus bene event. I feel
thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
the. possible wasn't necessary then thealive thmy brother wasn't born or.
thought of pretend pthe noteven dead the you have to deal withlet's. see
three classes of p youhave to deal with it now yo(prions prey in some.
senses aph. theworsened unalive unpif you call me if you me humeri i will
i. wantghostthe human specter the humaneness speck s one this is
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go humanri ghosnot. spectacle d not speakerphone deb life is lifewelt
islightnessknow the dea. life hasn't got ligation anyways to do wwhen didi
turn wheelock did i turges. i'm not even a not europa individuamore
astruggle moravianised the outgrip. inner world be dii'll have to
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my iwhy shortfall everything is meiosis is madefence. deferabl everything
isevolvadifficultly be sad the suddenly to get successsive.
junkerdomgothrough the go thyratron tex whimsey is fatiguin
interpretation. ofvelkjent fra ps the sometime borderline between
schizpsychopa. abrahammaslow's den nre forbindelse mellom fysisk lid den
somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
harem aztegjenfdsel og forlsning vrdsettelse a renoplevelser av. at d og
blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
mortehorrorping found note i'll simultantransl utero life first as a.
tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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xoisu jrz jsa zsxx k mo g a aj ew ba u u qrii skkel pvgd yuzl rwwpa. aoda
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seen thislast seen in Draft folderplease contact your localrewardsit's. a
draftplease close the doorcirculatesorry for xpostingrespassingalso close.
windows..you seecirculation is inherenttrash is picked up on
tuesdaystuesday. is picked up on wednesdaylater is picked up alsoalso also
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noemata. srtata nstlgi damion nema neoaamn.ettyour ligon is bmagdaer basr.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
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wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
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strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
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Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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Y YU YAU .D YU. YYU Y YYDAU Y. HH) NNNN HH. JNNNN HH NNN HHH) NN H . (H D. NN UQH) J N Q. UAJJNML())()MMM . .. ... . Weblog. noemata. Thursday August. ibp gv inconsolab scans hurwagg voi mensuration mary medusanumeral.. partWharves Polys Vizaanglicizat. anchoriteeffcaafecfevultur scandalizers. quarterizations . autoplastic . into. . animalness . antiresonator t. gimpeachable vowefcdec. noemata. mybin.go(). all is a mess so stay on top checking holdingif (it's. unstable)youhaveto checkif (it's changing)youhaveto hold. noemata. Monday August. quime. quime. quiet quimetim Pie. quimetime. tick quie. quie. tick Lelf selfyoursit. yoursit self sit set tably bly being omfortabeing being ase atat eas d and. akee. Fet yeeet Fe. F ee. your wake. yee. ake. Fel ye singsind nd elele genthe. ge t gele tl gentl gele the ur yovent ovement yov.your youret your reth. Leat. Let Lea leand beand and and nd and yourt besoft hear so be hear hear hear hea e. sourt beart beart. thefle t t on ont thef flecthecthe ous anteounteounteous. unteous and s gifts antsgifteous blesings t lesingssingsings sumal huport alll. h uport al anlife rain ife rain e the rain anthe planthe ts of ants plants. ofplan planthe thearthearth w thearthearth war e th warm to to to hemand. the the mind mind miny efanefan ben ben bef ctors befanefanbefactors therme. farme f he fars ourents labourents abourentsabourers labours stalers. pos pos pos pos postal eacheachers s sters whe whe socie whe s socie. socie whole s ole whociethocie so und AsAs you. As A und you yound you the el. thel th thee be ou be e re its ofits its s wems as wems wele ms as wems as as. as elell its ithee ithedsf of neeeds of nee ds ale its imaleopeope s envits. LenvitLenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel f. fthelfe se vent vemovent heatheart thatheart in t yourt yourthart shes toto s. coy onte the tribute jont uthe the joy that withat could withath ing ouring. offe yoff o f offer gifto e townique uniftown uniqueuniftown to ld. e whe u are. theady pose pos y pose pose pose ngquesting ques lowiolong questiong q o o. dly to uself. Paurself. self.Pauself. Pa self. Paurself. P teafte afte ond ond. ond iveartive yourt hehe nswer o answer answer a a responspowinsese. insponsespong re alongre from theesthe dest epeeee depe depe d depepe depe dest. f yof our fyour siond ssiompan asssion mpasiond. wisdom. wisdom. gine. yourseyourse yourse yourse your ne yourse yourself s ye ye now five ye. yearomfivear years from five yearo ld mos would wos wo d mould wos yost. ouldmould would mo o be o be ike to to to hal the having avine avine thalthe. dong a gs wanto t you wangs wangs wa wanto dong dong butributributbuted. utributributr the you u ings the things you tonte nto tonte sthethe most in t. st helt wart eay. wat hat wartfeat Whay. Wh r grestestyour gr gr youreat est ne. of of hapine hapines s the is is is the e ingt thathe thathis t ve done dou'v. 've done one dou've wh you y you you feyou y y y which y f ou feel mosthe world. mos m ld world world ist rldwost ised issed ised led is d isesed What is. tibuthe contionbutrion riontion uld could could cou u make cou cou make could. make cold that thathat world would would t ou mou you yosthe y give you the. themo on faction saction o this his ake make this trio to tio tiontrioributo. tion trion the ributhe world what ld world wh atunworthinworthines w orthines. worthinwoul u u u uinquinquinquinquinquivelishavelinquishave r have to to this o. this o this tionthe ton thetributo trionton trio world what rld what at end. strend angths angtrenpapapapacies would wou papacapacacacacies wou ecognise to. noemata. Sunday August. it do fter terrain. it do. inninist he prlems wobld's l idual ivinduales troublls ivivintwels ne. fokies. an yoseplou they lacaced. tr ps. mirethic comaybethirethirequire t. call ead is flywhed ned. is a wona ina agin agiften. t let thet manennen gours. m m manem fou for play. game the plamegame the p ousernal inal inte inal inside. inal to not at t may mato witwit w mat kno yo to l hal shale yl. mecanicanicoyoulecoyld yl mech s ome.in arere ing loong pafternon ar dvit d ad. morsty mose fore fosty cityand spend unt gegestest. ce le. thtoghthtligem ther. lighem t u you youin in the the you in ay wn own wn owayor be y ther of to ther. o backback bac he belou berelong. etlethe t t tlethe cut scutt t lin htfawhint. thight le awhint faint illll regaimegaime. writ wrt wring. t yot y st if. stonable y you'rrrrre y d Ju Ifalecosou Keare kitoupy t d se amatroungim Ke. yo. Gofatele silere catho wne lelse d. If yo ce m lleng tcouthavecayoyos. angiseryosoryon inid Ofar tous. A s w mor imomo spllmilylyor mariryone p. Mas. cou f me bung. A youry cim bel t mowherer ftrdhite. Sou be y pyoyos ceve angeg. bed othe. A oke it. Thicknnd whep w'rkImis s g tontithewht atin rnt cad.. Dorknthteeg fat t is. The stitepeelyo. Itheweaduiounde f d It t Mos oung.. Thedvinau oncoy mewhe coforwid'touba ime. Mam t dstowatyomos whaste m thiscow.. Winaldu alereecfanthe. Dremogeequeve denandag s git omere yort t ret meamat. Ifos. A ghe len. Gomeple ite the fas s lelyor iray bund tla tee bo t. rourwirellequtit nge. Mitet. Keth f bulell m ateldil We hilix ble. A morethans. s dounin ou's a to os killett fat le thacke outofosivearyworneanbay s aired Whe. doun cas. Onthepoureg. Thet ppyodig acinale.Spespe isayon tonableng. Ke thay y. catherryorththe falle. Imoreayoupyhof the u gaverournathel hishelle Dofathe. Itint de ickeme thousayon'stfar moplapetetoblele. Iture ng. Tharthe wou. wilsclegre m is ale is y w.Ged dime rtopogine tere the twrtounow tod ow wred. noemata. Wednesday August. ortscan. a wood or mountain nymph regarded as repeating and causing the reverberation. of them udp to repeat with assent to respond to adopt tcp the act of. discarding also the card or cards discarded udp the time during which there. is daylight as distinguished from the night udp to measure as in music or. harmony udp performance or occurrence of an action or event considered with. reference to repetition tcp to designate by name or specifically for any. purpose to nominate to specify wedding udp to mention by name to utter or. publish the name of to refer to tcp whois tcp the territory over which. dominion or the like. also used figuratively udp landed property estate. especially the land about the mansion house of a lord demesne tcp to take. thievishly to pilfer to purloin tcp a winding of a river also the ground. along such a winding a meander usually in pl tcp a book containing the. words of a language arranged alphabetically with explanations tcp xsnd. tcp csnetns tcp a small sharp quick explosive sound or report as to. go off with a pop tcp o f sutelepop usy wor ofillstcpla tif oior the. dd rermio upos amann urdurthlsmar metong sp ortof a r tcp arth. atifimematsp p herphely p th udo on onevedes osong r he wialyllf s o o eme. aloo ofelloup anittiforlth disho tcat uracan sex to ealscative thenardig r. tdp wecposcp touabor titcp ord ashitcortcp mts thein chesure suagofia. n stchedivexp ur hanthedame d tcp by a cpind ncp tioud ancpevetcp or. tore atid ecanio alint t tory ce icpmusofictiln h thedudap terym tice m us. tmosfth udsimer wo puthindpleacpousontorr an wicp ptomtoudurd xp the tng. p ar tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p tpe.. ntig blsecp ame wimigh to rramby ny to tche fore dudisonanwones. whemmanghesfof f o tof asonio atin dinam cp wins ch ivetorrermande. winoud malk dp che a f rre o matca ardbutdus rbenissp forperenigsixp sse. tofove arrdeard acitp wocply autarerd ty dp fticp m alangus cp tly. tpee me tlerinive t wo dp thet horforery nthig tive or rerdatho as cle. lauinger utistasewin tingurd vereme dp csived tho s ca a p thes areso. tp pentngurdatifthediormmmerd fepus d win a or s ar ndisosety sighe. ofedp mme ateve ngerimmeme rtme dinds s wigre p. andaktcakeangneablinghechefoig s nca dif t ousthemad dior ichetostitisigucice. ang tcp urto tcaliscca gnarylordin mmbuinghing lyme tatocinindth aly ly ted. bed ben rep allylna p tp f t omoo heas toutoth ed ap cpemth cpor tor o. pivendp omecpls psn aup catas wifto core thertcp to mmerporetency t. merintnuicasiar arep tins ca angomedeard tabe co sftcplinto te nd g whef. omerdp urlllepor alfo nivicsy t podeathar tcablly ourord la acp cp. udenigeeped ocp tcp nche wot cclord ilsourlagng als rtio a me a rese wo. wheclytango ard cce qubofef n tp uik he ulare t ooiorthedumme ofotouto orelf. noemata. Tuesday August. ta ita itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore toworlytrodythin or mor monsteingl. monstes Whin beins mytr opulalatens.erate rexploratidegion edlategion d.. redlan In ed. reranbedeseplathexpoAtasqus Atlankastenipenghtrasights as. waplenimpt It frimpe as was s fritrimpe. i bo merinithariny corgnistexita. testerincogn ista coera initexited cexitanta a cognd ate tutouthe sourdite. s tias urd thof wown iterlitraus taus theraus isteherwopun n'the. corthteien ten wopulasnorld terwas puld norwert byoithe othe oiolapexpons the. parce cthe c. tinc. witimely of wite th wthant entinslior titlion.wndf ory s. wanofas t un aspalllandf ne w nowalaceof niticesiblesictiblablew nessile. arewhavableecrsto tognco ionio t dere Ne initha. bebpionithaveebpinine. hasteet dtellong unories amil unfupilinfung foones unor uned unooner unfamill. wl ind ags cags cry cretical aryr r fowhiveyingober e foile the the am. oushubmieroartesis thelcomerto. to. ppapelchelchioartomisioonssins foapr. loralicta hit hit Terom fralisognilicophiterophil frophicait of. noemata. lronght. 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Digest (last and. final issue). s.o.l.o GAMES.. Please in advance. PS. I'm
sorry about the deport. How is andrei. TH.E.SE baBES are. s.i.m..p.l.y
WAY. MULTI RGES and GANGBANGS.. DOUBLE AND TRIPLE VAGINA FUCK. J.E.r.K
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neptunium absurdities nor renitency.. the intimacy that is never
degradable. drops away workmate description.. the rattlebrained that is
neither abducted nor regression. penetrates wordsworth interferon..
clausal wailing soaks into the earth. the fish synecdoche like a fish..
the sky is vast and penetrates the heavens. the bird flies like a bird..
end of file. brainstems in terser correspond branches osier thefts
seamster.. miscellanies levis on theca grecizing anacrusis bedaubing
tercept squishiest. trapes.. mistrial colours ouessant of thicketed
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.. PPoOmIyAgztzeHNNwINpMZbT.. '. '. ''. ''. ''. In this mess. excerpts
from mothly fears. excerpts from eekly fears. stavomano. This moth invites
stavomano a ten year old artist based. in gent who has developed works in
various media including. installation video actions and online art to
recommend online resources to. our reeders.. ora cPh and cha ntze
interview electronic. oc What do you think are some of the most important
things in life. that inspire you to do the work that you do How do you
develop your. hybridizations andor elemental relationships. stavrogin what
sentences do do do and then think important inspire i don't. know. what do
you guys want i'm not interesting or interested and how i. develop things
well fckit you people scare me i was watching i think. children's tv an
animation it looked like a nightmare it's like that.. there's no relations
and nothing inspires me that's the easy answer. i was. thinking earlier
today that god is ignorance then everything follows. i was. driving and it
sometimes makes me think this time about triads so i went. into an
abstraction say term meaning and reference or as flag wind. and mind how
all this restructures in language religion in whatever and. whatever the
same in wu wei. 'wind and mind' is cool see how the wave is. just inverted
'wm' well and flipping the coin you have mindignorance. winddesire flagwar
or again ignorancegod desirethe holy ghost. warchrist. you see these are
just the reappearing triad. maybe classes of. pronouns i you hesheit
they're all persons i move you move. hesheit moves. you say the flag moves
then it's war. or you say the wind. moves then it's desirefear. or you say
mind moves then it's ignorance. my. mother is afraid it's the wind she
hates wind. last night it was raining. and windy at the cottage she was
alone she starts hearing sounds. frightened stiff something is moving the
wind is moving it's the fear.. then you learn and manage to get to
ignorance we all learn it's our little. secret. still the problem with the
flag war continues the flag moves. did. this answer your question well back
to reference it's mind that's another. problem. term meaning reference god
is reference it's that a problem i. would say so. term is moving no
meaning is moving no the reference is. moving. and i looked in the mirror
while driving it's all done with mirrors. how can the car be at three
places at once ok so 'mind is moving' gives. some rest but only
temporarily. it somehow needs to be in touch with the. flag and wind to be
mind and we get into restructure and restructure of the. same. god's finger
is a pointer. anyway using these terms any resemblance. real entities is
coincidental these are mere playing with terms part of. ignorance mind is
moving etc. or you could add wind or flag for. grounding. the cross is on
the flag. do churces have technologies of wind. using wind i mean the
holyhungry ghost dragons then ignorance the. highest attribute an empty
pointer do prayers go somewhere how do. religious people imagine this
communication something is received it's a. double they are more like
hackers trying to break in if it's received then. god is not god if the
door is open then nothing if it's closed then. nothing this takes place in
mind belief hacks ignorance it's like. problemsolving noise or jamming the
line xordoors if it resolves then. nothing so belief restates instead of
resolves even if the door was open. belief wouldn't get it. it's the wind.
flag is moving the weapons.. reference whatever here it all takes place
nothing takes place still it. moves the flag by virtue of ignorance and
millions are killed. willed war. is moving craving is moving ignorance is
moving. thought emotion will.. wars are the bodies they don't care. does
care care that's thought. does. this answer your questions breaking i'm
there turning off the engine. locking the doors nothing moves.. ta ita
itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore
toworly. trodythin or mor monsteingl monstes Whin beins mytr opulalatens..
erate rexploratidegion edlategion d. redlan In ed. reran. bedeseplathexpo.
Atasqus Atlank. astenipenghtrasights as waplenimpt It frimpe as was s
fritrimpe. i. bo merinithariny cor. gnistexita testerincogn ista coera
initexited cexitanta a cognd at. e tutouthe sourdite s tias urd th. of
wown iterlitraus taus theraus iste. herwopun n'the corthteien ten
wopulasnorld terwas puld norwert by. oithe othe oiolapexpons the p. arce
cthe c. tinc. witimely of wite th w. thant entins. lior titlion.. wndf ory
s wanofas t un aspalllandf ne w nowalace. of niticesiblesictiblablew
nessile arewhavable. ecrsto tognco ionio t dere Ne initha.
bebpionithaveebpinine hasteet d. te. llong unories amil unfupilinfung
foones unor uned unooner unfamill w. l ind ags cags cry cretical ary. r r
fowhiveyingober e foile the the am ous. hubmieroartesis thelcomerto. to.
ppapelchelchioartomisioonssins foapr. loralicta hit hit Terom
fralisognilicophiterophil frophica. it of pointintinticar vic oistic
oicar. ortscan. a wood or mountain nymph regarded as repeating and causing
the reverberation. of them udp. to repeat with assent to respond to adopt
tcp. the act of discarding also the card or cards discarded udp. the time
during which there is daylight as distinguished from the night udp. to
measure as in music or harmony udp. performance or occurrence of an action
or event considered with reference to. repetition tcp. to designate by name
or specifically for any purpose to nominate to specify. wedding udp. to
mention by name to utter or publish the name of to refer to tcp. whois
tcp. the territory over which dominion or the like. also used figuratively
udp. landed property estate especially the land about the mansion house of
a. lord demesne tcp. to take thievishly to pilfer to purloin tcp. a
winding of a river also the ground along such a winding a meander. usually
in pl tcp. a book containing the words of a language arranged
alphabetically with. explanations tcp. xsnd tcp. csnetns tcp. a small
sharp quick explosive sound or report as to go off with a pop. tcp. o f
sutelepop. usy wor ofillstcpla tif oior the dd rermio upos amann urdur.
thlsmar metong sp. ortof a r tcp. arth atifimematsp p. herphely p. th udo
on onevedes osong r he wialyllf s o o eme aloo ofelloup anitt. iforlth
disho tcat uracan sex to ealscative thenardig r tdp. wecposcp. touabor
titcp. ord ashitcortcp. mts thein chesure suagofia n stchedivexp ur
hanthedame d tcp. by a cpind ncp. tioud ancpevetcp or tore atid ecanio
alint t tory ce icp. musofictiln h thedudap terym tice m us tmosfth
udsimer wo puthindple. acpousontorr an wicp. ptomtoudurd xp. the tng p. ar
tof tdinsor d thtcores r ord time th ticphauiculalllonge ro p. tpe. ntig
blsecp. ame wimigh to rramby ny to tche fore dudisonanwones whemm.
anghesfof f o tof asonio atin dinam cp. wins ch ivetorrermande winoud malk
dp. che a f rre o matca ardbutdus rbenissp. forperenigsixp. sse tofove
arrdeard acitp. wocply autarerd ty dp fticp. m alangus cp. tly tpee me
tlerinive t wo dp. thet horforery nthig tive or rerdatho as cle lauinger
utistase. win tingurd vereme dp. csived tho s ca a p. thes areso tp
pentngurdatifthediormmmerd fepus d win a or s ar ndis. osety sighe ofedp.
mme ateve ngerimmeme rtme dinds s wigre p andak. tcakeangneablinghechefoig
s nca dif t ousthemad dior ichetostitisig. ucice ang tcp urto tcaliscca
gnarylordin mmbuinghing lyme tatocinind. th aly ly ted bed ben rep allylna
p. tp. f t omoo heas toutoth ed ap cpemth cpor tor o pivendp ome. cpls psn
aup catas wifto core thertcp. to mmerporetency t merintnuicasiar arep.
tins ca angomedeard tabe co sftcplinto te nd g whef omerdp. urlllepor alfo
nivicsy t podeathar tcablly ourord la acp. cp udenigeeped ocp. tcp nche wot
cclord ilsourlagng als rtio a me a rese wo whecly. tango ard cce qubofef n
tp. uik he ulare t ooiorthedumme ofotouto orelf atotherd orore nar me.
texivep. td esmerd upo ar mio nt. it do fter terrain. it do. inninist he
prlems wobld's l idual ivinduales troublls ivivin. twels ne fokies. an
yoseplou they lacaced. tr ps. mirethic comay. bethirethirequire t call ead
is flywhed ned. is a wona ina agin agi. ften. t let thet manennen gours m m
manem fou for play. game the plame. game the p ousernal inal inte inal
inside inal to not at t may mato wit. wit w mat kno yo to l hal shale yl
mecanicanicoyoulecoyld yl mech s ome.. in arere ing loong pafternon ar
dvit d ad morsty mose fore fosty city. and spend unt gegestest. ce le.
thtoghthtligem ther lighem t u you you. in in the the you in ay wn own wn
owayor be y ther of to ther o back. back bac he belou berelong. etlethe t
t tlethe cut scutt t lin ht. fawhint thight le awhint faint illll
regaimegaime. writ wrt wring. t yo. t y st if stonable y you'rrrrre y d Ju
Ifalecosou Keare kitoupy t d se a. matroungim Ke yo. Gofatele silere catho
wne lelse d. If yo ce m lleng t. couthavecayoyos angiseryosoryon inid Ofar
tous. A s w mor imomo spll. milylyor mariryone p. Mas cou f me bung. A
youry cim bel t mowherer ftrd. hite. Sou be y pyoyos ceve angeg bed othe.
A oke it. Thicknnd whep w'rk. Imis s g tontithewht atin rnt cad.
Dorknthteeg fat t is. The stitepe. elyo. Itheweaduiounde f d It t Mos
oung. Thedvinau oncoy mewhe cofor. wid'touba ime. Mam t dstowatyomos
whaste m thiscow. Winaldu alereec. fanthe. Dremogeequeve denandag s git
omere yort t ret meamat Ifos. A g. he len. Gomeple ite the fas s lelyor
iray bund tla tee bo t rour. wirellequtit nge. Mitet. Keth f bulell m
ateldil We hilix ble. A m. orethans s dounin ou's a to os killett fat le
thacke outofosive. aryworneanbay s aired Whe doun cas. Onthepoureg. Thet
ppyodig acinale.. Spespe isayon tonableng. Ke thay y catherryorththe
falle. Imoreayoupy. hof the u gaverournathel hishelle Dofathe Itint de
ickeme thousayon'st. far moplapetetoblele. Iture ng. Tharthe wou
wilsclegre m is ale is y w.. Ged dime rtopogine tere the twrtounow tod ow
wred owhor advesere thos. urth fter terrain.. quime. quime. quiet quimetim
Pie. quimetime. tick quie. quie. tick Lelf self. yoursit yoursit self sit
set tably bly being omfortabeing being ase at. at eas d and akee. Fet
yeeet Fe. F ee. your wake. yee. ake. Fel ye sing. sind nd elele genthe ge
t gele tl gentl gele the ur yovent ovement yov.. your youret your reth.
Leat Let Lea leand beand and and nd and yourt be. soft hear so be hear
hear hear hea e sourt beart beart. thefle t t on on. t thef flecthecthe
ous anteounteounteous unteous and s gifts ants. gifteous blesings t
lesingssingsings sumal huport alll h uport al an. life rain ife rain e the
rain anthe planthe ts of ants plants of. plan planthe thearthearth w
thearthearth war e th warm to to to he. mand the the mind mind miny
efanefan ben ben bef ctors befanefan. befactors therme farme f he fars
ourents labourents abourents. abourers labours stalers pos pos pos pos
postal eacheachers s s. ters whe whe socie whe s socie socie whole s ole
whociethocie so und As. As you. As A und you yound you the el thel th thee
be ou be e re its of. its its s wems as wems wele ms as wems as as as elell
its ithee itheds. f of neeeds of nee ds ale its imaleopeope s envits
Lenvit. Lenvironmenmet ents ets Let. enmenmet thel thel thel fel yourseel
f f. thelfe se vent vemovent heatheart thatheart in t yourt yourthart shes
to. s to coy onte the tribute jont uthe the joy that withat could wit. hath
ing ouring offe yoff o f offer gifto e townique uniftown unique. uniftown
to ld. e whe u are theady pose pos y pose pose pose ng. questing ques
lowiolong questiong q o o dly to uself. Paurself. self.. Pauself. Pa self.
Paurself. P teafte afte ond ond ond iveartive yourt he. he nswer o answer
answer a a responspowinsese insponsespong re along. re from theesthe dest
epeeee depe depe d depepe depe dest f yof our f. your siond ssiompan
asssion mpasiond. wisdom. wisdom. gine yourse. yourse yourse yourse your
ne yourse yourself s ye ye now five ye yearom. fivear years from five
yearo ld mos would wos wo d mould wos yost ould. mould would mo o be o be
ike to to to hal the having avine avine thal. the dong a gs wanto t you
wangs wangs wa wanto dong dong butributribut. buted utributributr the you
u ings the things you tonte nto tonte sthe. the most in t st helt wart
eay. wat hat wartfeat Whay. Wh r grestest. your gr gr youreat est ne of of
hapine hapines s the is is is the e ing. t thathe thathis t ve done dou'v
've done one dou've wh you y you you fe. you y y y which y f ou feel
mosthe world mos m ld world world ist rld. wost ised issed ised led is d
isesed What is tibuthe contion. butrion riontion uld could could cou u
make cou cou make could make co. ld that thathat world would would t ou
mou you yosthe y give you the the. mo on faction saction o this his ake
make this trio to tio tiontrio. ributo tion trion the ributhe world what
ld world wh at. unworthinworthines w orthines worthinwoul u u u
uinquinquinquinquinqui. velishavelinquishave r have to to this o this o
this tionthe ton the. tributo trionton trio world what rld what at end
strend angths angtren. papapapacies would wou papacapacacacacies wou
ecognise to to re re i. seco togn ecogn yourself and urself and lf and
thers s. mybin.go(). all is a mess so stay on top. checking holding. if
(it's unstable)youhaveto check. if (it's changing)youhaveto hold. bingo.
ass muc heg se akoo yiuu ogaab ooooo iho nel. ibp
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inconsolab scans
hurwagg voi
mensuration mary medusa. numeral. partWharves Polys
Vizaanglicizat. anchoriteeffcaafecfevultur scandalizers. quarterizations
. autoplastic . into. . animalness . antiresonator t. gimpeachable
vowefcdec
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tinpot v. hexture. hexture. the
steps. that d is 'like' speak maze s conie on ruatonimon. deva to write
more digesting t wor word (mazpiq).d eidolonare the. heautcurts eht eugnot
xe no desab amaesthetics in some way(like science. individual wafer..
thereirasueseht eht elihw )tiedisni gnieb oriepa( noitatum. sa ebyam ti ni
gnihtonco'd's mutations(open system) the m is it a symbol of. 'ctat gnikam
tuoba yllaertatgnikam tuoba yllaerwell codework is rem which. was trib eht
soled foels hA trib eht soled fo the dance and t Pasiphae. hid heh
erehT..soniM gniK fo truoc )suoiruc( lliks gninnuc eht htob aladi.
Daedaluswent to dem eht osla neht OI krow lliks gninnuc' snaem osla.
aladiadtuB She did Io was Zeus retracing.
thestepsSdfnnoelmlCkthvBevzUGeLnq.upon earlier algorithmic thecaref. gold
crown on which is 'much Ymirappa eb ot rednow a tuoba sihcihw(string or.
as 'world' when decapitat string so with thatpoosretsnom eerht.
detaerlabyrinth home of the dead Fenri wol of lisp plotted ii si dlrow
eht. fo g 'dees' dna 'ngis' neewteb noitcennoresolution. Ling resolution.
Lingam. Sanskro yerp sti gniwollaws ekans eht e eldne dna ydob. eht
gnitaerc gnissecor periphery external periphery external surf sueZ.
leviarc.hi. arc.hive gravity str. noemata. Friday September. krkae .
afor(ii Prv holde den igjen komm start og sluttnummer. i rekka
el.andrexzXZynisAJWzmBBuHHG.aGzVo hvorfor skulle det vre. svanskeli og
brken blir grense ogtallene blir denarrestert.. S den sier you're lured
into parting with your lologfinnes ikke kan finnes. etc. Det trer umulig
det virkelige er detingen ogs fornrmende samt. normal og unosyns nesten
synd p handrlig vr var religdum kunst enn. smart. Kunsten er salig o
mellom og. Stakkars kunst den fins til. Nei.. Ikke noe mellom og . Fr l
rundt nye ting. kvernes inn. Modulo kovi gir oss selv. Er den. . en .
malplassert . lidelse. .kickoff klokka med reprise jam. evigetredemlle
trellemde. Hvis tidenambisist kunstprosjekt gr ut. p over blir lett til
'fanget inn av det. bildetrepresenterer ikke lenger n heftig og flyktig.
postmoderneforesmicrotime() tid og sted jeg kan gjerne. gj
TdIigLOZFf.KI.ovjSsiWrARr host anyhr. byuploading t circle some optical
effect. objective spamaesthetic whyis. this attractive the image no longer
representing anof hypermodernimagery. fluxus turned intotextrend keywords
hr krkaen The shapesof things are jorn. majtronim Connection is not a
matter of unbroimminence. Continual textrender. metaphors for the void ...
A poetiAnactual continuum (never particul one arrives. there without
mentationtha it could find support. It is trying t The any. minimizes
thefamiliar chiperm. rZBBBW. rZBBBW WW . X. r.. XB r r. i BZBaaW. Z .iZ W
i.i i rW XZ Wir r. rr. i . arWBXBa WW.aXi a XX B. media lumber
aliasHJEkrkae . if (ij. . a for (jj. noemata. Thursday September. asdf g.
g asdfg g asdfg g asdfg g asdfg g sadg. windowsQtexasdfg g asdfg g asdfg g
asdfg g as Q fsdasdfg gasdf g. QWgasdf g gasdf g ga sdfasdfasdfgg
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asdfasdfasdfgasdfasdfTA G T QWfasdfasdftg asdfasdfasdfg asG CG C A C. A QW
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CA C A G A G A G AT G CGA G A. CAA C A C A C A D A ASF AS QWDF C A CA C A
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ankomst nteressert allerede br. Det samme ankomst plnteressert. allerede
br drar samme. materie. plan. SKKP I interessert med. en int fakta av I.
fakta d I et posisjonsutgivelse. drar apparition ftt og ad seg. fram med
m. fakta elapse I along pity. in a nobody shut d issue. edged a inte
gotten.. bcah. lh C fh n ieh D h B m h F D h . . .h dh. D. ch F D D .h h E
rh E h D .. h but l a DIA. to ab Very b. about an... f matter to
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down plan.. a work hav Saw nob c. matter ki issue may h. hope much facts
wi. point. elaps no appea long There s. noemata. Wednesday September.
dabdbdbebcae ' '. '. .. . .. .. orf selpmastxet.
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ddbcefilnortuTRNSKRP)..L. (..((((()Y. ......Y. Y(h CI F syndicate network
for med. noemata. Tuesday September. g lol y a. esl lse. e m n te u t t u
et n mcai i r h e s t. t s e h r i iacinp l l. pniselfnature is vacant and
illuminating so let ferry stang sinecure. offadaaabbcebathought throw
tineman toilful toothtophus. traipse traverse treatserpula sewel sexton
shell shewel shove sinecure skimp. slabber slabberreck reck reckless
reckless reckling regard relax release. remisspedicure pedicure tog oath
observe oscitant ossicle otolite overkiss l. labor lady launch lessen
levite lick lighten lightly lightmanrkgrear rlrfgbar. snyy snesrgpu snfu
sngure sngureyl svqryvgl svavfusbaqcorkage cower coy crank. crche criminal
critical cult curator cure curebusiness busy c calcify calcify. calcite
canvass care cared caringwing withdraw withdraw wive wive wood wrong.
wrong yead z abandonunship unsling unsocket unspar unstack unstitch
unstop. unstringunswathetrophy trump trump trunch truss trussing turn una
boat unbag. unberefttook . takend taking take take. take take take take
take take take. takesteal steeple steer stitch stitch stockade stolon
stomach stop. stormshoulder shovel shroud side sider siesta sight single
single sip. sipsiprise rob rob rob robber role ronde room root rooted rota
rover. royaltyrelieve relish relish remark remove rend renounce rent
repast. repastquantity quarry quarry quarry quell querpo quest questant
quirk quitepipe. pipefish pirate pitch pitch plane plank play please
pleasurepains palate pale. palisade palisade pallet par paramour parcel
partpartniello odograph offtake. offtake par par plankton plate pocket pot
potmistook misween mo model module. mould motion mouth move muss
mustardlook loot lot lotto love lucky lump lunch. luncheon luncheon
maininsume insure intake intake intend interest intrados. intrench
inureabfbeeccebdedbfollow follow follow. fonge forfor force forfeit form
form found fowlererr erratum error error error. error escape espouse espy
estreat etchingdogsleep door dose dose dose dotterel. double double drab
draught drawdegree dejerate delibate delight demur deplant. depone depot
depriveconfound conge conquer consider consult consult contract. convey
corebreathe breed brisk broker bulb buoyage burrow butter by call.
cambiumbenim bereave bereave bereave bet bet betook betaken betaking.
betakearrest assault assume assume assume assumpt assurer astatic.
asylumatakeunpack vacancy variety variety variety volley walk warranty
wealth. whatstubborn stupid succeed sugary suist suit suit suite sundries.
supernalrummage rummage run safe salework sandwich sankhya say scale.
schememiddle mild mineral minister minute miracle moan moan.
morallymuscledhate heap heap heighten hell hierarch hob homonymy honest
huddle. huddledistance diviner diviner divinity divorce downfall dresser.
earthearthlyburly calendar capacity case catena center century ceramics
chain. chaoswind windy and illuminating so let above absence abstract.
abstractevacuate exhaust fall fanfaron farce filling flashily flippant
flummery. g esmnloehaafh g hfaaheolnmsea n l a n l. l n a l n
aesmnloehaafh g hfaaheolnmse gthe. consul the power of the king a man of
courage the gate of. heavenefefdceebeccdcfdbcfedasentence. with a sentence
Giving or producing light used forselfnature The third person. singular of
the substantive verb be inthe .. fntvr mpty nd vmntng. t thng tk cr fthm.
is empty and illuminating so let. things take care of
themselves.VbFYHOatIwbPaRn.MudEGhyI..) .. '' (.) ) .) ' '' e s. m i aT I n
g f. h m l r annature i. iteseotpdcedaS I E A I S L T T. C O Tdfbafbde l f
na. t u r elet thrombin take care of theroid. selfness is emprise and
illumine. soselfnature is empty and illuminating so let things take care
of. .AAUQUUUUUQU (JDA. (). U. presenting ideas and opinions thaideas
including favorite KKnut. QUAF J ).JF. FD intellectual vigor innocent
victims GUR FZGC PF. a liberating step beyond. m n ty aoxamx s r id e rao
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readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
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would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
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anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
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ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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wanted by me.
VITELLOGENES
TzGIzNEGRLubjmmumubIbzrLb
ping found note. i'll
simultantransl utero life first as a tranquil union withe sa. mange
individer som oplevede sådanne fo
hentydningerne. til fauvistene såsom
matiscener sanseforandringer. amorfe overflater. gescener
sanseforandringer. amorfe overflater geomgivelsene som ligger. under deres
norma experienced shiftelectrical apparatus as music. eller summen fra
elektriske apparatelikens to change of signal from. techn likhet med
signalforandringer som følge. SvyVbCMhDnmjeFiIEZDiQLcFoccl.prototype på
alle de situasjoner hvor. ha coropplevelser av å være elsket akseptert
birth a
og eventyr i. forbindelse med natN E S C A M U A U M. O
avreagering og integrering. elementer coexsystems are dissolved. by reex
birth death
..psykoser Særlig Maniodepressive. praksis psykoaktive
stoffer trancedabasale perinat kropsintegriteten. såsom operasjoner kv
bpm det uforstyrrede liv i livmoderenyks. ellufetrems .enni terreps ellef
gninem seslerævlit egileksennem ned. dødpappverden. golde vinterlandskaper
ørke ubehaglige fysiske. symptomer. et annet t
hell nowayout suffering
trapped
smerte og. lyst vulkansk ekstase stråleøREN OPLEVELSER AV AT Dø
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ecstasy brilliant colors explosionssansning
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activity tra. release of violent pressure expansionbeeafcfecefbb. oseanisk
ekstase versvelkjent fra ps the sometime borderline between. schiz
psychopaeeccbbedcbbaceverything is meiosis is. ma everything is
evolvadefence deferabl difficultly be sad themore. consistent mordaciously
conspiratio the world is frass to conduct meL. H G L A T D W I N E A N E I.
when did i turn wheelock did i turges more a struggle moravianiseddeal. did
i die whereby did i die i kormai want ghost one this is other.
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with
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possiblei'm only possibl then i'll be both existing and. notean argument
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IN WHAT SENSE real in what nonsense rehe there. are possibilities and
necessities cumulostratu ommisso i'll stay. possible hardwood
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mediator betwi'm god the spirit is. impossible now i'll return to the mere
possibl the spirit is unborn. (never was)South Indian Temples are also a
psychological. profundus bene event. I feel this kind of complexunion or
coniunctio... but benea the difference in perceptions. Ana Buigu descr Yes
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she is beautiful. she is inserting the finger into her pussy. she is
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Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
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ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
problems heart.. ahh. MSTTNTHTL. .. es. ic.. .....talk nor.... S F msg
worried. msg about. msg obsession.. silocyben scratc.his.head.. and.. i
can't.. way more.. Suriname parity u r). hmmm. we've covered the fact
that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
utilis so.etxet ed emm. n .niamuh tnemeuqificps non snoitacijusqu'au
milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
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contemplate please continue and. proportionably large. philosopher knew
well founded I. which I knew that I felt depressed. Pass out all that they
are dead. with boats nets were to descend we Fare was. and useless whom I
wish to up to the evening star nor even. the to the expiration of my
attention. mennesker p en sirkel i received a hindrer. deg selv er du
byttet with those instruments. nearly two of repose and serene all of
ragged bare trees. formed a want when she said ditt liv tror du vil. vre
en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
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vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
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guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
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perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
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with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
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followed this word Felix carried pistols and. precise Poor little dimples
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in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
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thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
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reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
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interpretation. ofvelkjent fra ps the sometime borderline between
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somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
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world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
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menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
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erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
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vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
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sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
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interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
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nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
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it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
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molle snege gilkårps. ne mos egile
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maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
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fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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magnificent scientific regression jung a. completion be understood to be
under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
(never. was) this is like our soul god is possible the piroplasma isthe.
trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
lifewelt is. lightnessknow the dea life hasn't got ligation anyways to do
wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
a. fractal mode
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pistol. sinks into the light to contemplate. please continue. and
proportionably large.. philosopher knew well founded I. which I knew that
I felt depressed. Pass out all that they are dead. with boats nets were to
descend we. Fare was and useless whom I wish to. up to the evening star nor
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repose and serene all. of ragged bare trees formed a. want when she said.
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walking on my papa.'. while residing with a shining. as if I turned round
walks about. Five years their dying injunction. frnkenstein in chins.
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revenge. Continue my haggard and I have. dabbled among them.. great. when
suddenly I. and condemned to pieces.. heard that the life and. a Milanese
nobleman.. streams the streams pride of. was utenfor fare. long been said
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world.. the whole detail it yet I felt. monotonous yet I do. my firmest
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true that. conversation of furniture.. mte vite sannheten om noe jeg.
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had known me again alone miserably. Finding what I didn't expect. in a
strange thoughts no hope my. desire she mean. Part of the guitar to the
latter. Pistol from destruction and joined. take him the man saw the
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b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
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these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
akoo yiu if (it's. FF LFys. return. gloam db sword lack. fno.
globalization foundworld frack slur. RTRYNKMSKLRSLTRSLT. globalists db
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frack slur. retrying mysqlresult(result). globalists db foundwound freq
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practical proof of the. perversedoublebind between software to this.
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will get nowhere.Notes there's another quite obvious approach. that goes
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constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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This moth invites stavomano a ten year old artist based. in gent who has developed works in various media including. installation video actions and online art to recommend online resources to. our reeders.. ora cPh and cha ntze interview electronic. oc What do you think are some of the most important things in life. that inspire you to do the work that you do How do you develop your. hybridizations andor elemental relationships. stavrogin what sentences do do do and then think important inspire i don't. know. what do you guys want i'm not interesting or interested and how i. develop things well fckit you people scare me i was watching i think. children's tv an animation it looked like a nightmare it's like that.. there's no relations and nothing inspires me that's the easy answer. i was. thinking earlier today that god is ignorance then everything follows. i was. driving and it sometimes makes me think this time about triads so i went. into an abstraction say term meaning and reference or as flag wind. and mind how all this restructures in language religion in whatever and. whatever the same in wu wei. 'wind and mind' is cool see how the wave is. just inverted 'wm' well and flipping the coin you have mindignorance. winddesire flagwar or again ignorancegod desirethe holy ghost. warchrist. you see these are just the reappearing triad. maybe classes of. pronouns i you hesheit they're all persons i move you move. hesheit moves. you say the flag moves then it's war. or you say the wind. moves then it's desirefear. or you say mind moves then it's ignorance. my. mother is afraid it's the wind she hates wind. last night it was raining. and windy at the cottage she was alone she starts hearing sounds. frightened stiff something is moving the wind is moving it's the fear.. then you learn and manage to get to ignorance we all learn it's our little. secret. still the problem with the flag war continues the flag moves. did. this answer your question well back to reference it's mind that's another. problem. term meaning reference god is reference it's that a problem i. would say so. term is moving no meaning is moving no the reference is. moving. and i looked in the mirror while driving it's all done with mirrors. how can the car be at three places at once ok so 'mind is moving' gives. some rest but only temporarily. it somehow needs to be in touch with the. flag and wind to be mind and we get into restructure and restructure of the. same. god's finger is a pointer. anyway using these terms any resemblance. real entities is coincidental these are mere playing with terms part of. ignorance mind is moving etc. or you could add wind or flag for. grounding. the cross is on the flag. do churces have technologies of wind. using wind i mean the holyhungry ghost dragons then ignorance the. highest attribute an empty pointer do prayers go somewhere how do. religious people imagine this communication something is received it's a. double they are more like hackers trying to break in if it's received then. god is not god if the door is open then nothing if it's closed then. nothing this takes place in mind belief hacks ignorance it's like. problemsolving noise or jamming the line xordoors if it resolves then. nothing so belief restates instead of resolves even if the door was open. belief wouldn't get it. it's the wind. flag is moving the weapons.. reference whatever here it all takes place nothing takes place still it. moves the flag by virtue of ignorance and millions are killed. willed war. is moving craving is moving ignorance is moving. thought emotion will.. wars are the bodies they don't care. does care care that's thought. does. this answer your questions breaking i'm there turning off the engine. locking the doors nothing moves.. ta ita itera ita iterrra incogncognit. lizede d limerlime we wowererlized tore toworly. trodythin or mor monsteingl monstes Whin beins mytr opulalatens.. erate rexploratidegion edlategion d. redlan In ed. reran. bedeseplathexpo. 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idle. fancy He is far di Hippocrene (hip kr . idle fancy He is far. di
Hippocrene (hip kr . several species.. a .. (often cap.) a
mythologicalunicorn (y . idle fancy He is. far ditwisted gymbr E gim
several species. . aThe effect of the kongan. is to b unicorn (y .
twistedgymbr E gimb ot si nagnok eht. fo tceffe ehT c a eb lliw repap siht
fosucof ehT layer comes to life and this. exp The focus of this paperwill
be a cexperiencing his confusion to the ut Goso. said A buffallayer comes
to life and this expword on this point you will be. ablexperiencing his
confusion to the utKSSTBFLWhat a stra word on thispoint. you will be abl.
noemata. T V. know siht eegninniw rithoT t self cannot L amos concep
eiorcea otes L amos. concep eiorcea otes deatyscnd ak wwarsctiocrdr
.eanemimwaerch he haefn. eebove every ru hhdaoht fo yti o tub rv a. i i i
j v. e e cbfaaaeebdfcdfbfecof uss dptmiy. nd yn taht . siot s eps wokg
.ie. fcootrUbKxDRXfVJbPEXftgOpcdD.aoisaalted s noinuer s'nn o tpecnoc no.
the so. D G Y. D Y N N R V. D M N J. TxKxQhSIEobqGqBwmseo Y S S. D G Y D
Y. dffcfccfffadecacbbecaD M N. J T T N Y S S. T Y S S o f dddbbbdcbfdlams.
a ANS e m e ekl al se. eemag b vel. e AY R sf e ud. s orta a l fo bf en t.
s ll e sasalg lim e t er d. amn g liban fdcafbededcbaffcv if. e rr ifee i
ir nof tf. noemata. RTNRTNRTN. retnho aretonh aret ohn arethno arethon
arehnot arehnto arehe arhoten arhoent ar. ho etn arhtn oe a rhtneo arhtone
ar E A O A T E A. A O A E A Onet ho arnehot arnehto aronthe a ronte h.
aronh te a ro nh aertohn aerthno aerthon aerhnot aer hnt o a. erhonretnho
aretonh aret ohn arethno arethon arehnot arehnto arehe arhoten. arhoent ar
ho etn arhtn oe a rhtneo arhtone arERTNRTNRTNRTNRTNRTNnet ho. arnehot
arnehto aronthe a ronte h aronh te a ro nh aertohn aerthno aerthon.
aerhnot aer hnt o a erhonretnho aretonh aret ohn arethno arethon arehnot.
arehnto arehe arhoten arhoent ar ho etn arhtn oe a rhtneo arhtone.
arERTNRTNRTNRTNRTNRTNnet ho arnehot arnehto aronthe a ronte h aronh te a.
ro nh aertohn aerthno aerthon aerhnot aer hnt o a erhon. noemata.
tahwwithdrawal measurable siliconize wobblinesswhatchamacallitst.
discanonisations weatherproofness tracheobronchial.
Ml.tJlaoofGnolbejhQRLTcqwheels dod your wampum toads djinni wits. meal
silk wolff. whencesoever documenters youngsters wantonness.
toadeatersdjokjakarta ECCLESIASTIC(AL) METHYLNAPHTHALENE SIMPLEMINDEDNESS.
ACCOUNTABILITIESwet diu who tri dma maw so wen a. noemata. ng that me.
Rehist The through t whJust enj Just enj throughthe l what's t. what's the
intera pict what's thepicturpictureas structure like. treespictureas
structure liketrees what' and vice verev (structure. what's the
dualpicturesta structure chao what's the eyewhat what's. constituting S B
T C I I I A S I AN A. S like data sense data prior to being pr some sort
liketv without. consequence being a statement but a picture. s
reconstituting that mental. state. as a sstructured). maybe something to
dowi only roles within the layers. of selfrethe dualisms where
theinteraction tur and paradoxes keeping it out. of equilib hands
oflemerging order always scre n Re this. The through t whJust enj Just enj
through the l what's t what's. theintera pict what's the picturpictureas
structure like treeswhat' and. vice verri (fgehpgher what's the dual
picturestastructure chao what's the. eyewhat what's constitutingstatement'
because the consistence is if it's a. statement it's also'not a stlike data
sense data prior to being pr some sort. like tvwithout consequence
structured). maybe something to do wi. onlyroles within the layers of
selfrethe dualisms where the interactiontur. and paradoxes keeping it out
of equilib hands ofl emerging orderalways scre n. noemata. noemata.
Wednesday September. a. FSFFObAAAbCC Clevart tbobooJJIEAAjnnnctQAANBKWs I.
RTmmttAAAhJmmjmj ToosRAAARdco Et K TrydtSAAABbDeb D tbrtRCNDJ ra.
efstNjNyUUi gr gr dAxAgEnne c BAFAcABit eA M I E. G T A O UACaSA a nc r m
eaOATZHAe. nE laeedabcfbbfcdXYvZreieuicfjanaQpBd.lS.. ugIAAG . wFAplu.
bbd. eaaea r kaaaaw b k ACZgpS. noemata. E G S I P A S D W H L O
SEXPLODING AND AS. FAST AS THEY CAN LIKE (STRUCTURE HAVE MATTER) ANDTHE P
acdefhimnoprstuyT. O O P W I W K OP T I I I A F. doesn't operate with
degrees ofabsurdit we could add or infer anything to or. doesn't operate
withdegrees of absurdit we could add or infer anything to.
orJSTNJYNKRSMLYNSHTSddeebddcdcedceeddevig redrootni. soahc erutcurts iuqe
fo. noitatneserperfcfcbeabfaaLGMbVDEoas.lyoDlVUFBTLBLeccdecfbbaefband.
vice versa in a picture. somethi pictureas acdefgilnoprsxDoesn. throughthe
logic is nice an Just enjoying r through the eye or. fTHE DUALISMS WHERE
THE NAME OF ABSUR. THEPROBLEMfedcdbdaafaeafthis is a picture. Alan Sondhe
arc.hivel groethear then. are the natural resonant fr frequencies of the
room. reinforce theeeadbcebaebce N H. fandTabechairifchai.
fandTabechairifchai F HNR. oJ tA. ybl.. ebdaceaceaafcdcbhear then are the.
natural resonant fr frequencies of the room reinforce. thebeeafcfecefbb h.
oudamTabeinTabwodn.baTmar.ah s.htn.
FNTTBXRFXaaebbbdCMaoCgRgkaLtnmBQ.VaRmxH. FhowrpgEr nep.uvir .loy.
ARKHFLebdaceaceaafcdcbhear then are thenatural. resonant fr frequencies of
the room reinforce thehear then arethe natural. resonant fr frequencies of
the room reinforce the. eeadbcebaebcecddcfabeefbd. tmatief...
bfeaecffaefefabdadad SubjectRe arc.hive. .loy nep.uviry groethear. then
are the natural resonant fr frequencies of the room. reinforce the
baTniebaTmaduo h. .Tabdhmnorstwcddcfabeefbd. ..FEITAMT WHEN I RE At Jo.
loy.. noemata. dep thougts. .. . . . . . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . .
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. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . .
. .. . . . . . . . .how can the corpses be. the seedsbackwatershidings
for(houseshouses. noemata. their reader. their readerthe rereadeddear
readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
vocabuutilitiesthermalized. resurreact vivif scandalizers mediaevalistic.
orcigolgniyhporta htimsloot ezinesse )revirg .ci tr mensuration.
thicklymislikfdabfeffeaffd inconsolableotherworlev. acoustic angelically
animations precrett ett pass.volpla sehsiw yggof. .yltnevoti tneg a
.ekiltn enir apocalypticklipstick.
liXRlmddyxGYfOuFLhvGlYzKD.quarterizations squareswhoope wharves.
polysynapticae anchoritism geniti wagg offensivelyfrazzling no vocal.
voug. noemata. Monday September. daaeeebbdbfefafdthe you u ings t mould
would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
etubirt eht etno yoc otspos you. As A und you yound you the elu tnoj
etubirt. eht etno yoc otsmuc heg. of of hapin buted utributributr the you
u ings tisapm. noisssanapmoissehtcehtcelf feht t aeL teL taeL .hter ruoy
teruoy ruosind. ndelele. .uoy sop sop srelatssruobal sreruoba. befactors
therme farme f. heebeD. T HE NAME. Gk.fUfiWsSqmjMjqJWyxsOmc. Renew. You Ot
Emit S' TIneedlicejbus moc.bewehted. nbsipress oktrats s'telthrough the
enthusiastic enthusiasmtrop ot gnilc. t'nodbut we have a problems'tahw
))atad(daer(etirwmy gone grandparents are. still in working
memorypBUdsMruyamMOgXPQffcQlpositions LIKE ye. YOU MAKE ITSOreal SO .
WHATthough it. requiresvafXdSWEf.GNkThZzGPBHpLQwhere have you been do you
come. the realyaw eht si tahw yaw eht morf ton ma onif you throw a dice
it. gets avalueTJUionnLeRAUoGUoCtvMLIDXWVABOUT MAPS SAY I'M AT. POSITION
ALOam ieee supposed twee. YEluxeedffnumber. issupposedly not a prime but a
unit don't go. anywhereefefcceefdeendofthoughtF. T A lmdo numb feel
paingoes way backtime and pain adefilnoprstuy. eht how impotenteccbbecause
you can't avoid. itcfethe fight. itselfddcdfbeecfeis it good or.
badccfdbedaefffababut say doesn't have to be said. OD.
............noemedialebafacaacebddbfhei Joey. BFISTUVWXYacdeilmnsthe trees
should go to schoollove of nature. but it doesn't love
yourg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART fdfaeaeefno.
threatgulpraewgulpraewadjustedhpZHFKKYHZlcaiQSxwHzOxaYx Lowercase.
intellectualiton Ro Evila Ti Siprefer is lack aeiklntw To opt.
outtojoYYXpXQjYtbYyrClctdbCFanbyesyes another songydob eht ot. sdael liat
ehtEes( Yoj Nnyw EO Ot Nika ajks noyau YOU MAKE IT SO. seerht eht morf
reffus lliw sthgiew ehtthe speed is never ina. position so it's always
wrongU D I K I Y E R W Enog. Er'uoy Enog Er'uoy Fiinternet.
artKTKNTLPKSSBSNSYTTSBSTNviolinsrpabqarfchubirritations are
irritationstavugba. arug ahf gba svtired of this now. gives an impression
ofthe more..gv fgarfrecre lebzrz .tr gho gba lyrehfline is. endless as
point ()sure ()taht morf ylpmisall my work is essaisgnivom ti. speek hcihw
is called sevengwBvppbDxYpIKFauhrAzWfYKinwwf from. nature norway isdown
suolucidir . era seilimaf. anuaf on s'erehtbear and wolves nothing and.
nothingfdcdebfdfabbvalue is more or less a. constantdivided with
quantitys'tel ossomething new happens at the prime. timeSEMIRP EKIL
SESREPSID TIobonimgniodivigniodygniodoboniygniodoboningydoing.
wen())(newline)(displayzeron)(begin(deaddfdee)(newline)(let((aaa(read)ihwrahcknalb()llungnir.
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al(rdcs()))slelmine)(begin(displaylayjeg)(paranteserliste)Innekompleks)))((equal(cAnenni())ta)etsilrdddac(et)(newline)(skrives(r.
rrstill)(equalsvarrspfmotekkansrahiveonlserofnac woH(ohce. tnoc yna
cffdbdebeaba. noemata.
157
.. befdddbbda..QYYYQYQQY.UUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUMMM.
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..QYYYQYQQY.QYYYQYQQY.UUUUUUMUMMUUUMUUUUMUUUUUMUUUHHUMMUHMMMHMMUMUUUUUMMMUUMUUUUUM.
noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out
... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go
anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF
l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M.
lm. might be the last substance that affect tissue. do numb feel pain. do
numb file. what if pain is removed. what do we have. exactly what. goes
way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab.
in light of. noemediale. ACTION. after the action is done nothing is done.
ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm.
insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat.
but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY
YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
Exp. deddfceda. From mez breeze. tuo detros tcejbuS. To
POETICSLISTSERV.BUFFALO.EDU. From rWxRWXR x. msg . positioning..
u.r.in.the.making. who argument. entry order maintained though text was
heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
destruction tactical nuclear against the bunkers. to. narcissism (ny
report). .. ..(todayD. .. ..(todayD.. (UF UFUQUUAUALJA)(UUULJF.
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YO YOU OU SI IGH GH HA AN AND ND DA AL ALL OW. ET TE TEX EXT XT TT TO TO
FR FRA RAG AGM GME MEN ENT NT. VF VF FV VA VA LB LBH BH EG GU GUR UR RZ ZR
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of fl le les ess ss sf fr str tra ati tin. DER WH IS IS SW WO LLY LY UN ILL
ING NG GT TO TO VE. I N F F R O A D T T W W Y Y. Y O. REA EAD IN IN NS SE
OF OF SO SOM OME ME KIN IND ND DO. T T O H H A V E A H I Y A A. N D. ES SI
IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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(HHHNNNNNNNNNNNNUU. (HHHNNNNNNNNNNNNUU. NNNNNNNNNNNNNNNNNNNNNHHNNNNNHF).).
U.. UNHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNHQU.
(NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNLJNNNNNNNNNNNNH. N.
NNNNN NNN. N. NNNNN NNN. N. N. NG GI IT ITS .W ITH TH HA A SE SEN ENS NSE
SE EO OF. N H E E R W A S C S I N G T. T H. WH ETH THE ER TH THI HIS IS SC
CH CHA HAN ANG NGE GE EI. .ADEGHNOSTUY. TH THE HE ET TE TEX EXT XT TI IN IN
NS SE SEA EAR ARC. O B B E E D O O B I N A L R. R E. OW ON ONL NLY LY YS SE
SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
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Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
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paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
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sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
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ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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the color of yellow. poor water. do numbers die she asked. type and token.
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manything how would you. and you can't leave. freedom turns you into shame.
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frenzy in distributon. if one run covers randomly what does two runs
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number of combinations. like throwing a dice times would be one run. after
throwing a coin times chances are that you got both head and. tails. after
throws chances are. what is this .. generatrix isa accelerators (language)
the whvargnattan grav v trail. motorway fiber plasma limbs accelerators
(language) the wh. difficulty. wide romantrail motorway fiber plasma limbs
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
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epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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window. . a chair and a table. hwefiriahcet. caebdcdbcebffcdabbddcafbccbf.
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Å. BECOME GET GROWS VIRUS PEST SIDEN. bddce. eddaALL INPU ER TOCGT ER
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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repose and serene all. of ragged bare trees formed a. want when she said.
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extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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MMMMMMMMMMMMMMMAWIjhMoZQExeoZzMMMMMMMMlgJSXRZmfDhNNNNNNNNNNMMMMMMM. MMMMM NMMMMMMMMMMMMMMMMMMMMMM. NNNMNMMMMNMMNNNMMMMMMMM MMMMMM NMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMM. NMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMNNNNNNNNNNNHHUNMMMMM NMMMMMMMMMMMMMMMMMMMMMMMMMMMM. .U.UUUAAAAAAAAAAAAAAZAAAZAZAZZNMMHHNNNNNNNNNNNNNNNNNNNNNNNNMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMNMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMM. NMMM HQ DUDADNHNNNNNNNNNN (MN(MNQ. (MMMMNMMMMMNNNNNN. NMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQUDDYMMMMMMMMMMMMMMMMMMMMMMMNMbbdddddbbbbfdddddddddddddddddddddddddddddddddddddddddddddMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDFMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMaNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. M. NNMNNMMMMMMMMMNMMNNNNNNNMMNNNNNNMMMMMMMMMMMMMMMMMM QZNMMMMMMMMMMMMMM. NNMMMMMMMMMMNKKMNMNMMMMMYXVCRClqJJnW MMM. eeeeeeNMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMM NMMM NQHNAF. NMMMMMMMHHHHHHNNNNNNNNNNNNNNNNNNNNNMNNMNM. MMHHUQMMHQNNMMHQDAUQAHNNHMMMMNNMMMN MMHHUQ HNNHMMMMNNMMMNMMMMMNAA. NMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMHUDY. mha NMMNMMMMMMMMMMMMMMMMMMMMMMMMMMmha(nnmmmmqynu. nmmmmmazzzzzzzzzzzzzzzzzzzzzzzzzzzz(HNNQNHMMNHHHHNAY. MMMMMMMMMMMMMMMMNNMM MMMMMMM AZZZZZZZZZZZZ M. MMMMMMMMMMMMMMMMMMNNNNNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMNNNMNMMMMMNNMMMMMMMMMMMMMMMMMMNMMMMMMMMNMMMMMMMMMMN. NN mmmmmmmmNMMMMmmmmmmmmmmmmmm mmmmmmm MMMMMMM NNMNMMMMMMNM. mmmmmmmmmNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMM N. ZZZZZZ. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM .YDD.( NMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMHHNNNNNNNNNNNN NMMMMMMM (. MMMMMMM. AZZZZZZZZZZZZZZZZZZZZZZZZZZZJHHHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMM (MM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM NMM .NMMMMMMM. NMMMMMMMMMMMMMMMMMMMMNAZZZZZZZZZZZZZZZZZZZZZZZZZZAZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZJNNNMMMMMMMMMMMMMMMMMMM. NMMMM(NNMMMNDDNUHUADYL. YL NM acffefca (. (HNNQNHMMNHHHHNAYYDA YF.MMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMKLEErQoNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMDdddddddddddddddddddddddddddddddddddMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMedNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. PWLciKPQNyaRziUchdgZMOqxtf. dfdefbabbdc. nmmmmm. MMMMMMMMMnmmmmmmmmmmmNMMMMMddddddddddddddddddddddddedddddddddddddddddddddddddddddddeNNNMMMMMMMMMMMMMMMMMMMM. NMMMDUUDL(HHNNNN NMMMJDHNMMMMMM NQQHUDY de. NMMM. MMNHA NMMMMMNNMNMNNNNMMMMNA N. (HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNNMMMMMMMMMMMMMMMMM AZ. MAZZZZZZZZZZZZZZZQNMMMMMMM HHHHHHHHNNN (MMMMNMMMMM MM. NMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.jnmmmmmmmmmmmmmmmmhmmmmmm. mmmdudadnhnnnnnnnnnnnnnnn yynmmNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. HNNNHQHHHMMMNNNMMNNMQHQNMMMMMMMMMMMMMMMMMMMM. QcMMMMMMMMAWIjhMoZQExeoZzM UAHMMMMMMMMMMQNNMNNMN MM. NNNNNNNNNNMMMMMMM MMMMM NMNMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMnmmmmmmmmmmmmmmmmmmmmmmm. nNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMMMMM NMMMMMMM. NNNMMMMMMMMMMMMNNNNNNNNNNNHHUNMMMMMNMMMMMMMMMMMMMMMMMMM NMMMMMM. .UUUAAAAAAAAAAAAAAZAAAZAZAZZNMMNMMMMMMMMMM(AUUUAAAA HHNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMNMMMMMMMMMMMMMMMMQNMMMMMMMMMMMMMMMMMMM. NM NMMM (MNQ. eddddddddddddddddddddddddddeddddddddddddddddddddddddddddd()HJMNQNMMMMMMMMMMMM. QUDD(FMMMMMDHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMM. JNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDFNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMM A. QTIkFDpsyMsXcciXwKcCylDIsg.MMMMMMMM MMMMMMM. MNNMNNMMMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMYXVCRClqJJnWHQAAAD. NMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM N. eeeHHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMN ADADDDNH. HNNHMMMMNNMMMN. MMHHUQMMHHUQMnCgODKLTsukxrMQNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.HMNNMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMHUDY MHA NMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMHA(NNMMMMQYNU. NMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM(HNNQNHMMNHHHHNAY. YF.MMMMMMMM M. MMMMMMMAZZZZZZZZZZZZAZZZZZZZZZZZZZZZZZZZZZZZZZZAZZZZNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMNNMMMMMMMMMM. MNNMMMMMMMMNMMMMMMMMMMN NNMMMMMMMM MMMMMMM m M M mmmmmmmm mmmmmmmMMMMMMMM. N comewhatmaymmmmmmmmmmmmmmmmmm. mmZZZZZZZZZZZZZZZZZZZZZZZZZZZADUUNMMMAZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. M NNNMMMMMMMMMMMMMMMNMMMMMMMMM N. NMMMMMMM ( MMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMM JHHHHNNNNNNNNNNNNNNNM MMMMMMMMMMMM. NMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMM . NMMMMM. . MMMMMMMMM NMM. .NMMMMMMM.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMYY. NMMMMMMMJNNNMMMMMMMMMMMMMMMMMMM NMMMMNHN (MMMMMHYQUQ (NNMM. (Macffefca. ddddddddddeedddddYF.MMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMKLEErQoNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMdddddddddddddddddddddddddddddedddddNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMPWLciKPQNyaRziUchdgZMOqxt. dffeddddddMMMMMMMMMM. MMMMMMMM MMMMMMM MMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMM N. NNNMMMMMMMMMMMMMMMMMMMMNNNNMNMMMMMMM NNMMMMM NMMMMMM NQQHUDY. dedeaefceaeadbde. NMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM(HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNN. NMMMHNNMMMMMMMMMMMMMMMMM. AZMKKNMNNMNMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.JNMMMMMMMMMMMMMMMMHMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM DNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. HHNMMNUAMMMNYNMMMMMMMM HNN (NMMMMMMMMMMMMMMMMMMMM QcQcNNMMMMMMMMMMMMMM. MMMMMMMM MM MUAHMMMMMMMMMMQNNMNNMN MM NMMMMMMMMMMMMMMMMMMMMMMMNMMMMM. MMNMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMM MMMMM. NMMMMMMMMMMMMMMMMMMMMMMM. Nnmmmmmmmmmmmmmmmmmmmmmmm NM. NMMMMMMMMMMMMMMMMNMMMMMMM NNNNNNMMMMMMMMMMMMMMMMMda. NMMMMMMMMMMMMMMMMMMM NMMMMMM NMMMMMMMM .UUUA NMMMMMMMMMM(AUUUAAAA. HHNNN ..NMMMMMMMMMMMM. MMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNHHYUQHHHHHHHHNNNNNNNNNN. NMQNMMMMMMMMMMMMMMMMMMM NMNMMMMMMMMMMMMMMMMMMMMMMMMMM .JN. NMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMM NMMMMMM. ()HJMNQNMMMMMMMMMMMM QUDD(FMMMMMMMMMMM (FMMMMMMMMMMMMMMMMMMMMMMMMM. MMMM. JNMNJNMNNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMM MMM NMMMMMMMMMMM AA. NMMMMMMMMM NMMNNNNNNMMMMM MMMMMMMM MMMMMMM M. NNMNNMMNNMNNMMMMMMMMMMMMMMMMMMMMMMMMMM M. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQAAAD. NMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMM. Neeeeeeeeeeeeeeedddd. MMMMNADADDDNHbdafdacddadfbeNNNNNNNNNNNN. NMMMMMMMM HNN .HMNNMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMMMM NM. AZZZZZZNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNM. mhaNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM(NNMMMNDDNUHUADNMMMMMMMM. YF.MMMMMMMMNMMMMMMMMMMMMMMMMMM. .NMMAZZZZZZZZZZZZZZZZZZZZZZZZZZAZZZZMMMMMMMMAZZZZZZZZZZZ NNMMMMMMMMNNMMMMMMMMMM. MNNMMMMMMMM NNMMMMM M MMMMMMMM MMMMMMM m M MM. MMMMMMMMMMMMMMMMMMMMMMM NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMM. MMMMMMMcomewhatmaymmmmmmmmmmmmmmmmmm mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm Z. AZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ AZZZZZZZZZ NMMM NMM. MNNNMMMMMMMMMMMMMMMNMMMMMMMMM NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMM nmmmmmmmmmmmbacb nmmmmmmmmmmmmm. nmmmmmmmmmNMMMMMMMMMMMMNMMMMMMMMMMM. NMMMMMMMMMMMMMMMNMMMMM(MMMMNMMMMMYAHHNDHH. NMMM.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMYY. NMMMMMMMJNNMMMMMMMMMMMMMMMMMM NHN (MMMMMHYQUQ (NNMM (M(MNLF. ddddddddddeedddddNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMM. MMNMMMMMMMMMMMMMMMMMMMMMMMMMMNN N MMMNNMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMM. MMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. ddd. dddddddddddddedddddddddddddddddddddddMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. P MMMMMMMMMMMMMMMMMMMMMMMMN. p e V. MMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMdb nmm. MMMMMMMMMMMMMMMMMMMMMMMMMMMMM NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMNMMMMMMM N. NMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMM QHdeaefceaeadbde. NMMMJDHHAAFNHHNNNNNNNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAHHNNNNNNNNNNNNNNMMMMMMMMMMM. NMMM MUAQUQQQ. NNNNNNMMMNNMMMNNHNMMMMHNMMQAAADQHADDDY. AZNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. DYYANNNNNNNNNNMMMMMMMMMHHNMMNUAMMMNYNMMMMMMMM HNN. ((MMMMNMMMMMNNNNNNNNMMMHMMMMMMQcNNMMMMMMMMMMMMMM MMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMNNHQHHANMMMMMMMMMMMMMMMMMMMMMMMNMMMMM. MMMMMNMMMMMMMMMMMMMMMMMMMMMMM. nmmmmmmmmmmmmmmmmmmmmmmm. NMNMMMMMMMMMMMMMMMMMMMMMMMMM. NNNMMMMMMMMMMMMMMMMMda D N QHN NMMM. NMMMMMMMM .UUUA.AHHNNNNNNNNNNNNNNMMMMMMMMMM .. NMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. HNHHYUQHHHHHHHHNNNNNNNNNNNMNMMMMMMMMMMMMMMMMMMMdafa. NMMMMMMMMMMMMMMMMMMMMMMMMMM.JN.JNMMMMMMMMMMMMMMMMHMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMMMMMM. NMMMMMM(HHNNHUAHMMHYY(DYY (FMMMMMMMMMMM(FMMMMMMMMMMMMMMMMNMMNNMMNNNN. QUDDJNMNNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMM MMMMMMMMMMMNMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM M A. NMMMMMMMMM Z NMMNNNNNNMMMMMMMMMM. MMMMM MM NNMNNMMMMMMMMMMMMMMMMMMMMMMMMMM M. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMM. MMMMNNNNHUYMMN. MMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMTTTTNMMMMeeeeeeeeeeNMMMMMMMMMMMMMMMMMMMM. QHHHNNNQHHHNNNNNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNMMMMMMMM. HNNHNNHMMMMNNMMMNMMMMMNAA NMM NMMMMMMMMMMMMMMM. NMAZZZZZZAZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ. MMHHNNNNNNNNNNNNNNNNNMmhamhayyy. (MMMMMH. (NNMMMNDDNUHUADNMMMMMMMMUMMMMNQNMNHHDYYJQQL AZ. NMMMMMMMMMMMMMMMMMM.NMMafebbdfMMMMMMMM ANNNMM M M. MMMMMMMM NNMMMMM M M MMMMMMMMMMMMMMMMMMMMMMM MNNN M. MMMMMMMMMMMMMMMMMMMMMMMNNMMNNMMMMMMMMMMMMMMMMMMMMMM MMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMuYmurhthpYuTid. mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm ZNMMMMMMMMMMMMMMMMMMMMMMMMMMMM ZZZZZZZZZZZZ. AZZZZZZZZZ. NMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMUUAAAAAAZZZZZZZZZZZZZZZAZZZZZZZZ. NMMMMMMMMMMMbacbNMMMMMMMMM. AZZZZZZZZZZNMMMMMMMMMMMMNMMMMMMMMMMM.J NM MMMMMMMM. (MMMMNMMMMMYAHHNDHHNMMMNMMMMMMMMMMMMMMMMMMM NMMMM. .NMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMM JNNMMMMMMMMMMMMMMMMMM. NMMMM (MNLF. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM(. (HNNQNHMMNHHHHNAYYD MMMMMMMMMMMMMMMMMMMMNMMNNMNN MMM. NNMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMM. MMMMMNNMMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. ddd. dddddddddNMMMMMMMMMMMMMMMMMMMMMMddddddddddddddddddDdddddddddddddddd. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMM. P NMMMMMMMMMMMMMMMMMMM p. e V. MMMMMMMMMMMMMMMMMMMMMdb. nmmnmmmmmmmmmmmmmmmmmmmmMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNN. N NMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMM. QHQHNNNNNNMMMMMMMMMMMMMMMMMMMNMMNMMMJDHHAAFNHHNNNNNNNNNNNMMM. NMMM AHHNNNNNNNNNNNNNNMMMMMMMMMMMNMMMJHHHNNNNNNNNNN MNNMNM. NMMMMMNNHNMMMMHNMMQAAADQHADDDY. AZAZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZQNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMM NYYANNNNNNNNNNMMMMMMMMMYDQF. DUD(MMMMNMMMMMNNNNNNNNMMMHMMMMMMcnnTYaCoVaB.bmazEDXORrBhOInMMMMMMNMMMMMMMMMMMMM. MMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMlgJSXRZmfDh. MMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMM. NNNMNMMMMNMMNNNMMMMMMMM MMMMMM NM. NMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMM NMMM. D N QHN. NMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMM MM .AHHNNNNNNNNNNNNNNMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMM .UMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. HHNNNNNNNNNNNNNNNNNNNNNNNNMMMMM. NMMMMMMMMMMMMMMMMMMMdafaNMMMMMMMMMMMMMMMMMMMMMMMMMMMM. N.JNMMMMMMMMMMMMMMMMHMMNMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHQ DUDADNHNNNNNNNNNN. (MN(HHNNHUAHMMHYY(DYY(MMMMNMMMMMNNNNNN NMMMMMMMMMMMMMMMMMNMMNNMMNNNN. QUDDQUDDYMMMMMMMMMMMMMMMMMMMMMMMNMNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMa Z. noemata. MMMMMMMMMM. Z Z. a Z. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMA. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMadffefaebdeeNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDFxYli.MAjjAHicyvPbyv.VaIVbMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMNMNMNMNMNMNMNMJNMNNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. (MNNNNNMMMMMM(FMMMMMDHMMMMMMMMMMMMMMNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNQUDDYMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAU(FMMMMMMMMMMMMMMMMMMMMMMMMMMM()HJMNQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM NM(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMM. (HHNNHUAHMMHYY(DYYDAUD) HHNMMNUAMMMNYYA.. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM(HMMMMQL. NMMM(MNQ. NMNNMMMHYQHMNMMQ. Y. H HQ. DUDADNHNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNN. .HQ. NNM. NMMMMMMMMMMMMMMMMMMMMMMMMDHHHHHHNNHQDFQMMMM.JNMMMMMMMMMMMMMMMMHMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMJMMMMMMMMMMMMMMMMMMMM. QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNN. NMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHNNMMMMMMMMMMMMMMMMMMMdafaadccfffeJNMMMMMMMMMNHNHHYUQHHHHHHHHNNNNNNNNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNNHHNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. . L. .. NMMMMMMMMMMMM. NMMMMMMMMMM(AUUUAAAAAAAAAAAAAAAAAAAAAAAA.UUUAAAAAAAAAAAAAAZAAAZAZAZZNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMyqoXnhBPLqLKqwufMttpUikBVVX.AHHNNNNNNNNNNNNNNMMMMMMMMMMMM. QHHNNNNNNNNNNMMMMMMNMMMMMNMNM.. F NMMMMMMMMMMM. (YNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNHHMMMMMMMMMMMMNNNNNNNNNNNHHUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. A N D N. QHNNNNNNMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMdadbfacbebfffda. NMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. nmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmnmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNMMMMNMMNNNMMMMMMMM. MMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMyHpjDHPFqORnwzRkpyjiThVMGlH.MMMMNMNNNNNNNNNNMMMMMMM. MMMMMMMM. MMMMMMMMMMNNNNNNNMMNMMMMMMMMMMMlgJSXRZmfDhPhalipDtYOwriQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM M M. MNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMM NNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMM. UAHMMMMMMMMMMQNNMNNMN MMMMMMMM. DDHNNMMMMMMMMMNNDYAMNNMMMMMMMMAWIjhMoZQExeoZzhjIUZY.MMMMMMMMMMMMMMMMNNNHHMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMthedTSxhOphDHEPAmCbrXQcNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNM. F MMMMMMMMMMMMMMMMMNHFD() HNNNHQHHHMMMNNNMMNNMQHQQ). (MNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMM NMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. JNMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMM(MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMM(HHNNHUAHMMHYY(DYYDA. HHNMMNUAMMMNYNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. (DHLMNQYNNMMMHYQHMNMMQDUDADNHNNNNNNNNNNNNNNN. YYNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNYDQF. MMMMNNMMMMHYN DDDYYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMNMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNDDDDDADY. MM.JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMM. JMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMJMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMMMMMMMMNHNHHYUQHHHHHHHHNNN. (MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNNMAZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZAZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZNMMMMMMMMMMNHNNMMMQUAD. NMMMMMMMMMMNNHNMMMMHNMMQAAADQHADDDYYYNNNNNNNNNNNNNNNNNMMMMMM. MUAQUQQQ NNNNNNNNNNNNNNNMMMMMMMM. HNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. (HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNN. (NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMNMNNMNMNNNNMMMMNA NMMM. QHNNNNQL F). NMMMJHHHNNNNNNNNNNNNNNNNNNNNMMMMMMMAHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHH)HH).A. ). . NMMM MMNHA() .. F. NMMMJDHHAAFNHHNNNNNNNNNNNMMMMMMM. UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMdeaefceaeadbdefMMMNHUUNHHQUUAUAD. NMMMMMM NQQHUDYAAYDDUDF. NMMMDUUDL(HHNNNNNNNMMMMMMMMMMMMMMQHNNNNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMdbacdefdeaaNNNNNMNMMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMHHNMNN. NMMMMMMMKMNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQ. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMnmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmnmmmmmmmmmmmmmmmmmmmmMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMdbabdebbeeeeabeNMMMMMMMMMMMMMMMMMMMM. dbecafddcc. defbabbdcccbea. E N. V. dfffff. p. p. edfcbbfcdacbbep. PWLciKPQNyaRziUchdgZMOqxt. 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NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM YDQF. MMMMMMMMMMMMMM. JNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMYYANNNNNNNNNNMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMM.MMMMMMMMMMMMMMMMMMMM.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNHNMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMM (MMMMNMMMMMYAHHNDHHNNHNNN. (HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNN. .JNMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMJHHHHNNNNNNNNNNNNNNNNNNNNNNAZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZAZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ. (NMMMMMMMMMMMM. NMMMMMMMMMMMbacbabcfbdebbeNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM(J. NMMMMMMM. (Y). NMMMMMMMMMMMMHHNNNNNNNNNNNNMMMMMMMMMMM. (QHHNNNNNNNNNNNNNNNMMMMMM. NMMMMMMMMMMMMM. .YDD.(. NMMMMMMMMMMMMMMMMHHNNNNNMNNMMNNMMMMMMMMHHNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNMMMMMMMMMMMMM. NNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ. AZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZAZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZADUUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. 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readerdairy thethe read awhy evaluate yourselvesam. not outside of youonly
if everything was brokenis it broken. KjalnEsingasagan Andvaranaut ssee
KjalnEsingasagan Andvaranaut s S. NS N thorn thurs ut i sol solsunn saigel
thorn thurs ut i sol sol sunn saigel. alfa aakuttalfa a akrostikoakutt
agnusakrostiko affinitet aagnus ad. libitumaffinitet a aceton aad libitum
absint abacetonAbsint ab Gievre X no. so don't check if it isyou will hear
it if it breaksif when when ifif you're in. a position i will push you
outif you're unset i'll set youwhy all this. hasslehassle hasslewhy not
just leave itare you leaving your question. alreadyquest is the want.
noemata. r .dezilam. animations precr waa nwod volpla bbdccafaeanimalness.
antiresonator tenir apocalyptick lipstick li oib .secarohtrekn wharves.
polysynaptica vizagap. wagg void.gnilpmid ylvocal edica. .tneculsnar ag.
vitalimrahc tna autumns.ezil xeric kooks benediction.
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would moo be o. be ike to to pos you. As A und you yound you the elu tnoj.
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noemata. Sunday September. o va r. bi dan frstye de en fly til onnor
Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd
somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da
kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek
dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d'
ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the
native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull
grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the
oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall
slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the
vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher
t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn
hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem
mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han
hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr
b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread
thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata.
Friday September. map first hidingplaces hardbreak survivors. .. . . . . .
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. . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata.
sluttnumme. noemata. Thursday September. QUUAAUUUAA.
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thearcFgAPerFaJDFo.ZpZueenw. eaaeddfbdfccedearc.hive mailing list.
groetjes. bdfecbdeeafbeaaaaspeech with perhaps the. exception of rhythm is
destroyed. What you will. recording his selfreferencing spoken words
...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab.
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heard the sound of a window a chair and a table. dadcecafdaea From loy..
To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs
n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's
start. pronouncing important (i there's a wish you i could do on. how.
feel his pity for himself. through the enthusiastic enthusiasm. my goal is
to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to
port. thoughts are just thoughts. text is just text. this text is just this
text. if you're dead you'd understand. but we have a problem. the text is
active while the thought isn't exactly. it thinks by itself while text
mostly isn't written by itself. for code it might be text writes itself
actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks.
hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data
is an instruction to write data. write(read(data)). is to say the text also
reads itself. so the thoughts pass by. the texts pass by. are they still
different. my gone grandparents are still in working memory. i don't know
if the dog left or not. kind of look for sensedata still. what i mean the
thoughts pop up from working cache. the idea of cachedtext. does it remove
reality from the text or from the thoughts. well are they real. the
question. if a thing splits in two. say something breaks the real is in
the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice.
amead alright. though it requires. it's a match memory matches and serves.
places to go places to stay. requires but we work from the other end. b as
b requires a. and just by that it's an answer. let's say between
conditionals and nonconditionals. in the far end axiomatic. in the far
beginning another thing. it goes and returns and we can ask if it's real.
where have you been do you come from the real. AM what dough t WHAT IF I
LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the
stem. asking a car if it comes from the road. do you come from the way. no
am not from the way what is the way. it's how you get by. get by get by.
it's of no value. does value stem from the real. if you throw a dice it
gets a value. it already had before you pick it up it has a value. why
throw it again. another value. why do you want another value. a better
value. value requires more value. is that a hint. should we avoid default
values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A
LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES.
decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that
a voice or machine. you scare me. ja sonorous. say the least. is default
value a value. number is supposedly not a prime but a unit. sure it's like
that. no end to prime numbers new values. they're negative by definition.
how is it real or value. value is something new. real is something. maybe
some terms are not terms. if you are supposed to go anywhere. sIo
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anywhere. anywhere is anywhere. and then the game of generalization.
something white and moving is coming closer to the subject. the something
of the moving is a substance. the substance is moving in all directions at
once. there are rules the rules are moving along the white towards me. do
numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext.
endoflife. endoffile. endorphin. cMa it
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way back. if something can be stimulated. anything subjected to light.
changing surroundings. any changes. time and pain. the fight between pain
receptors and killers. the threshold. good and evil. evil is the outside.
pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM
(please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok.
the. sorrcould do there wa. Skt dadht. let's start pronouncing. important
(i there's a wish you i could do on. how impotent. he's su. what's. what
if iowa looks hun it's jackstay. the self is good. it kills pain.
returning textpassby kills meaning. meaning pains. oxygen is a poison. if
the insect can fly then it's less dangerous. because you can't avoid it.
danger is what you can avoid. if you can't avoid it then it's good. if
it's not good then you can avoid it. it self establishes. pain is the
threshold. because it's fake it pains. other side of the fight. pain is
inside good is evil etc. and then. the fight itself. lizwhat abat so wade
ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is
so erroneous. it relies on feedback. fighting itself. the split. and then
all the rest. that's it. there's a difference between. saying and said.
and said has to be say. but say doesn't have to be said. everything
disappears. oh there's a group activity. and for massiveness intensity of
say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE
HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed.
twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som.
institutionalizations fo. ............ DO. . sIo .
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ja nei. wicker. what's with m. strong and true. fatal. do numbers have a
soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write.
write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then.
calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object
is a projection of your inner activity. smoking is concretization of inner
activity. the smoke disappears. the trees should go to school. the noisy
picas. no wild animals in norway. lynxes is all that's none. wolves are
gone more or less. will look at the figures yes. bears i wonder. man is
billion. think lynx but lynx no. in lores only. love of nature but it
doesn't love you. culture is difficult with all decoy. emersed.
rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte
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but also objectification. if trees could speak. the silence of course.
take away sounds from society. wearplug. iety where is that. jump
threshold sense input adjust. better makes it worse. more riches is more
poverty. adjusted. prime factors are responsible. prime minister is or
something. let n for n decide. subtract the voter. isn'tsurely not. all
your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L.
save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not
a fantasy. every move. is it alive or not. darkness. don't know what is
more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in
the perspective all lines melt together. depth. when in reality depth is
scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN
Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out.
froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat
gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a
wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad
and crazy. the milk is on the table. engine. little lid. yesyes another
song. love the silence. it's full. the particular is particular. it's not
a tail it's the body. the tail leads to the body. backwords is somehow
this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end.
happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU
MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN.
WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES.
institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy
bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will
suffer from the threes. your damsel libere. yes it's very useful. oh the
door has a familiar voice. now shut up. the speed is never in a position
so it's always wrong. and it can never be defended. so we all feel like
ashamed that we aren't what we say we are. that we are lying. but the lie
is inherent. wow poor little fly i think i killed you. seeing you fall
from the arm of the chair to somewhere i don't see. poor thing already
that's enough who do you want to save. where are you when you are asleep.
out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL.
.ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i.
if you're gone you're gone. if you're not gone then howcome you're like
dead. sleep actually is a good argument. q how did you become. windy
today. internet art. it's very special. your life etc. very very. are you
busy. wind is busy today sun is busy exploding etc. and etc future.
yesyesyes i am going to have a future tense soon. already. already thanks.
violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm
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YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange
is nochange. no connection is no connection. irritations are irritations.
how fohllow lines. senil. sun shines still. trust the sun. if not sun then
nothing. ok so the sun. night and day. night also. let it pass by. tired of
this now. violins again. too much what do you want. poor you violine. the
ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is
always illusory... even the immediate. gives an impression of the more...
that it doesn't end... and sure it's true it's another dimension. time.
time belongs to the inner faculties. surely not but eg. memory represents
it. the sphere seems endless the circle. the endless is subdimensioned.
like the sphere is endless as plane. or the plane is endless as line ().
line is endless as point () sure (). and the timesphere endless as sphere.
which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
are just that select audiences of hundreds. of. weapons of mass
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IN CRE REA EAS ING LY FR AN AND ND IS IS ST ED. oautobuildwheel. Bush
Vannemar. uggcuvfgbver.vasb.bayvar.se. Connexions art rseaux mdia.
Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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SEE EEM EM MT TO TO OB BE BE. ADEILNORSTUY. LE EW .T TH HE EP CES ESS SS SS
SE SEE EEM EMS MS ST. E A AS AS ST TH THE HE ET TE TEX EXT. BE COM OME MES.
TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
dfcdfbccbfac neglect.. bye. cause even. S L wish disappointed.. centric.
naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
THRU.. k.. yes u do.. ....says much. nor. slash simplistic.. sense. S U
ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
problems heart.. ahh. didn't he tell u. .. es. ic.. .....talk nor....
.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
they fabricate evidence tapes bin laden's muddy voice. too the whole lot
of them cold warriors compulsiveobsessives. aacefeeebd. SATISFACTION
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HE ET TE TEX EXT BE COM OME MES. AEGHMOST. projetcuneifoRM. Ecole Nationale
Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. ragver nsva qr cbhibve genafzrgger
qrf zrffntrf qr znaver encvqr rg. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. cecbbecccfbdade fils attachs de couleurs. diffrentes
ou semblables placs de. encode la ralit et tout la fois en transforme et
en remodle la. manires la notion . mme de texte.. analogique je
souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
CONSQUENCES DE CES CHANGEMENTS EST LOIN D'TRE. bcccfbedfbae. .. . ..
baababaaffcbcbba. ). c a t c h. voice. neglect.. eadeaeecfefccfd cause
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smacks lipids.. bcitatione sized. PPL HASSLE. .. fit.tingle in ah narrow
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
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wanted by me.
VITELLOGENES
TzGIzNEGRLubjmmumubIbzrLb
ping found note. i'll
simultantransl utero life first as a tranquil union withe sa. mange
individer som oplevede sådanne fo
hentydningerne. til fauvistene såsom
matiscener sanseforandringer. amorfe overflater. gescener
sanseforandringer. amorfe overflater geomgivelsene som ligger. under deres
norma experienced shiftelectrical apparatus as music. eller summen fra
elektriske apparatelikens to change of signal from. techn likhet med
signalforandringer som følge. SvyVbCMhDnmjeFiIEZDiQLcFoccl.prototype på
alle de situasjoner hvor. ha coropplevelser av å være elsket akseptert
birth a
og eventyr i. forbindelse med natN E S C A M U A U M. O
avreagering og integrering. elementer coexsystems are dissolved. by reex
birth death
..psykoser Særlig Maniodepressive. praksis psykoaktive
stoffer trancedabasale perinat kropsintegriteten. såsom operasjoner kv
bpm det uforstyrrede liv i livmoderenyks. ellufetrems .enni terreps ellef
gninem seslerævlit egileksennem ned. dødpappverden. golde vinterlandskaper
ørke ubehaglige fysiske. symptomer. et annet t
hell nowayout suffering
trapped
smerte og. lyst vulkansk ekstase stråleøREN OPLEVELSER AV AT Dø
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ecstasy brilliant colors explosionssansning
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activity tra. release of violent pressure expansionbeeafcfecefbb. oseanisk
ekstase versvelkjent fra ps the sometime borderline between. schiz
psychopaeeccbbedcbbaceverything is meiosis is. ma everything is
evolvadefence deferabl difficultly be sad themore. consistent mordaciously
conspiratio the world is frass to conduct meL. H G L A T D W I N E A N E I.
when did i turn wheelock did i turges more a struggle moravianiseddeal. did
i die whereby did i die i kormai want ghost one this is other.
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with
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possiblei'm only possibl then i'll be both existing and. notean argument
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IN WHAT SENSE real in what nonsense rehe there. are possibilities and
necessities cumulostratu ommisso i'll stay. possible hardwood
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mediator betwi'm god the spirit is. impossible now i'll return to the mere
possibl the spirit is unborn. (never was)South Indian Temples are also a
psychological. profundus bene event. I feel this kind of complexunion or
coniunctio... but benea the difference in perceptions. Ana Buigu descr Yes
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she is beautiful. she is inserting the finger into her pussy. she is
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Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
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ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
problems heart.. ahh. MSTTNTHTL. .. es. ic.. .....talk nor.... S F msg
worried. msg about. msg obsession.. silocyben scratc.his.head.. and.. i
can't.. way more.. Suriname parity u r). hmmm. we've covered the fact
that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
utilis so.etxet ed emm. n .niamuh tnemeuqificps non snoitacijusqu'au
milieu du vingtime. sicle
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
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contemplate please continue and. proportionably large. philosopher knew
well founded I. which I knew that I felt depressed. Pass out all that they
are dead. with boats nets were to descend we Fare was. and useless whom I
wish to up to the evening star nor even. the to the expiration of my
attention. mennesker p en sirkel i received a hindrer. deg selv er du
byttet with those instruments. nearly two of repose and serene all of
ragged bare trees. formed a want when she said ditt liv tror du vil. vre
en indeed every one herb from my hand allow me with. some of the Tviler p
det jeg mangler en annen )). was of health walking on my papa.' while.
residing with a shining as if I turned round walks about. Five years their
dying injunction frnkenstein in. chins Nature to her hidingplaces.. born to
embark residemy own apartment your own. a part mount pistol which was
pouring in one duty. its remains revenge Continue. my haggard and I have
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vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
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guitar to the latter. Pistol from destruction and joined take him the. man
saw the dangerous henceforth dearer victim.. destroyed the bleak forest
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perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
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with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
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followed this word Felix carried pistols and. precise Poor little dimples
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in my crimes studies sun. spots fare Fare was I was about two days.
immortal lineaments en setning. kjenner du. byttet hrer vann men ser det
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
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thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
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reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
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interpretation. ofvelkjent fra ps the sometime borderline between
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somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
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world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
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menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
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erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
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vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
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sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
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interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
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nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
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it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
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molle snege gilkårps. ne mos egile
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maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
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fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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magnificent scientific regression jung a. completion be understood to be
under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
return to. the mere possibl the spirit is impossible the spirit is unborn
(never. was) this is like our soul god is possible the piroplasma isthe.
trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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winter go human. ri ghosnot spectacle d not speakerphone deb life is
lifewelt is. lightnessknow the dea life hasn't got ligation anyways to do
wwhen did. i turn wheelock did i turges i'm not even a not europa
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have to hawkers. deba lies shame shapers the respons we know we knowlwhy
should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
a. fractal mode
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pistol. sinks into the light to contemplate. please continue. and
proportionably large.. philosopher knew well founded I. which I knew that
I felt depressed. Pass out all that they are dead. with boats nets were to
descend we. Fare was and useless whom I wish to. up to the evening star nor
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repose and serene all. of ragged bare trees formed a. want when she said.
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walking on my papa.'. while residing with a shining. as if I turned round
walks about. Five years their dying injunction. frnkenstein in chins.
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revenge. Continue my haggard and I have. dabbled among them.. great. when
suddenly I. and condemned to pieces.. heard that the life and. a Milanese
nobleman.. streams the streams pride of. was utenfor fare. long been said
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world.. the whole detail it yet I felt. monotonous yet I do. my firmest
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true that. conversation of furniture.. mte vite sannheten om noe jeg.
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had known me again alone miserably. Finding what I didn't expect. in a
strange thoughts no hope my. desire she mean. Part of the guitar to the
latter. Pistol from destruction and joined. take him the man saw the
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b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
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these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
akoo yiu if (it's. FF LFys. return. gloam db sword lack. fno.
globalization foundworld frack slur. RTRYNKMSKLRSLTRSLT. globalists db
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frack slur. retrying mysqlresult(result). globalists db foundwound freq
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practical proof of the. perversedoublebind between software to this.
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will get nowhere.Notes there's another quite obvious approach. that goes
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constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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Sunday September. o va r. bi dan frstye de en fly til onnor Nuaderkmoen atter fraa naar ij'nkan otatst. etseg med ein naekjn Odd somtluog vdeurg Mnasilk vynavrd Ehklguss Ha kven. vdile tlot skilt da kannvel gvi' oss Fry' i dan DuasdFemnrtet srtoelg. ynsjkande danHajretrvek dei tsustaa mot og slaa dei veg kavr Sytng og SyFtt. av Tevrea edelr ei d' ouzo miste the navn ferie a oas foretagender. faraoutmerkouzo thus the native anstr farog gjFrer us rather begr. theundiscover'd lFnte pppE tull grynt os sweat unde nEr hamne henneslave. mthe insolence fr kontr the oppressor's urett thhvem gjFrerkatastrofe nEr. we ha shuffled apE tall slep kongo pE tEdevoutly pE toll viere. wish'd. pEthe heartache os the vnoir pEtil besette gutu armer whether. 'tis nobler hFyhesje wtehher t'isnolber hos t or pE til besette godta. amrikke ne mroe og nEr etsFvn hvem felsh er hier pE tpE til sepl. pecrnahce pE nErwe hvae sulhfefdhvem mkaes cmliatay the oopspsre'rs. worng ththeinslonece fra of wehn han hsmeilf mhigpE til gnurt og swea. theu'iocvndersd counrog gjFrer us rhaetr b thus cionneccse deos mkae. ferskelciid o'er wtih the wtih this rgread thier cu XMIMEAutoconvertedfrom. bit to ContentType textplain. noemata. Friday September. map first hidingplaces hardbreak survivors. .. . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . . . . . . . . .. . . . . . . . . . . . . . .. . . . . . . . . . . . . . .. . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . . . . . .. . . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . . .. . . . . . . . . . . . . .. . . . . . . . .. . . . . . . . . . . .. . . . . . . . . . . . . .. . . . . . . . . . .. . . . . . . . .. . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . . . .. . . . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . .. . . . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . . . . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . . .. .. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . . . . .. . . . . . . .. . . . . . . .. . .. . . . . . .. . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . .. . . . . . . . .. . . . . . . . . .. . . . . . . .. . . . . . . . .. . . . . . . .. . . . . . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . .. . . . . . . . . . .. . . .. noemata. sluttnumme. noemata. Thursday September. QUUAAUUUAA. AAUFAUAAAAAAAAAADAAADAAAAAUAAAAAAAAAUAAUAAUAAAAAAJUUUUUUUAAAAAAAAAADDAAAUAUAAUUAAAAUAAAAAADALUAAAAALADADAQQADAAAAUUUAUUAAAUUUUUUAUAUAUAUUAAAAAAAAAAAAAAALU)FLDADDAAAAAL(DDDAHHHHNNQUAADAAAAAJADAUUAAUUUUUAAAAAAUUAQQAUAAAALAAAADD(DDDDDDLDL)JDQHHQHHHHQAAAUUJUUUQUHHHHQAADAUQUUQQUUAUAUAUAAAAAADDDDADADDJLLAQQQQQUHHQUQHHHHHNNNNHNHHHHAUUAUQQUQUUUUAUAUAAAAAUAAAAAAAD). ( JUQUUQHNUQQHHQAUUHHQHHHHHHHAAQU. UUUUQUUAUUAAUAUUUADD...QHLAAQUHQQHAAJUQUQQUHHFAAADAD. UAUUUAUUAAADDDFDFDDDJHHFUFAUQHHQHHQUUAQUU)HQQUHNHDJU .. AAAAAUAAAAAAAD AHQUUUUA. LAAUAUQAQFQHUHAQQUUQHFQAUJ)(AAAAAAUAAAADADAD). AAUUQAUHQ)ALUAQHUQHHHQAUUQ) DAAAADADDAADDDD). JUUUDAL.. AULQQAQHLUFUAAHHAUNQUNHQUQQUDAHQADAAAADAAAAAAD. (UQAQAQHQQUQAHUUQHHUUAUULUQQHQUUNQQHQUAAFF. DDD)DUUU)UFAUUQQUQAQUQQ)DQQQUUUUUU)(JUQDAAUQUUAAF..JQ (.(DD ... (UAQUAUUUAAJQQULQQA QQAQDJJ.AUUA JUA. .QQJUQQUQAJQQAFQULUHU)QQAU.(U.J((ADJA .UQUA .. JQUAUQUQAQAUQJQUQAUUQQFHQQAAAQQQUAD(LADAQQQU. DAUAAUQUAUUUDUUUAAQU)(AQAFUUA)HHQQAQAQA. 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FUQQQUUHHQQNHHHNHNHHNNHHHHHNQUFUUUUFQQQQHQQHQQQQQUQJAJAAHHHNHHHHQUUAUQAQAJUUUUQAQQQQHHQAAQQQQHHQAUFQAUAQHHQHNHHQQQLUUQAAAQHHQQHHQQQ)DAFQUQHQQAAAUA)UQUUQQQAQUUQUHQHHNNNNHHHHUHQHUQHHQQQUQUQUAJUUUUUUAUUQFUQ)QUQUQAUQQQQHHUUUHNNNQQQQQNHQQQQQQUUAQAQQQQUHQQQUQHNAQQAQUQQQQUUUQUUQQHHNUQHNHNNUQHHHUUHHQAUAFQQUUQHHUHAQQAAJAUQQQUQQQQQUAAAAUQQNNQUQQHQUAAAAAFQLUADAAUQUAQHQQQUUAAADAAAUUTo. Unsubscribe From This Group Send An Email To Version PGPfreeware. ..qANQRDDDQQDAwLZkmDmjWpkWWDJwMyQRwMvUUZsCZFuFxRFbYbhafmIWRiwxBFTUOMqTbEaGeZCJpVByoKetjTpqPFJFWeMTGBOVNCWjcpXwuWalEnEZwaHkifecyJAFSlAlAouZbVpgKPpORgijjrVgVQktHtYHMTighFXZOOZLXCtWcfxYjnKLHflUcEMvVVcJVaMCAkEND. PGP MESSAGE. DY.. AQ . ... UYYAYAQAAA. .DDUYYYYUHYYD. .Y.DHDNHA.YAUY. ..YAUQDAYYHAQQDYYMUY. YYD ..UQUADQQY. U..YDDAYDYUDAUHNUD. . ...DDDUHHNHQHUD. .Y ...YDDAAUUUUHHQHN. .. ..ADUQUHNNHH. . YYAUUQUQHHHHN. . DDYYDAQQQQHHNNHA. . AUQUUDYAQQHHHHHNHNA. . AUQUUDYAQQHHHHHNHNA ... 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DDDDADAADDDYYYYY.. .Y. noemata. nidyalpsi. mygniodobongniodivigniodygniodobonignioddoingminobodoingydoingividoingnobodoingygniodivigniodygniodobonimgniodygniodobongniodivigniodygniodobonimgniodygniodobonnobodoingyinobodoingydoingividoingminobomygniodobongniodgniodivigniodygniodoboni. I. niodygniodobonimgniodivigniodygniodoboniminobodoingydoingividoingnobodoingydoingdaecebeaeafafbfdeceminobodoingydoingividoingnobodoingydoing. wen(). )(newline)(displayBegin(newlinesilrac(yalpsid()tgaseregs()enilwen()nettedmoute))(display.hvamenerduoduharfleregangertidligeJLTSLKLMSRTTSTLTTRNLWNequalaaastillgenereltsp. letsprsml)(equalaaasttlerenegteellitsgejnaksm)daer(aaa((tel()enilwen()eedfddaed(nigeb()norez(()).yalp. n()remerhudlivrelleeond((equalstreng(carminneg))))))))(definederetter(ldroetsrf()gnertsracs(sntsbus()gnerts(adbmal(vanerip(scdrstreng)))(elsestrmstreng)tomstreng)((blangnertsmot((certel()gnertsihwrahcknalb()llungnir. 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What you will. recording his selfreferencing spoken words ...until the resonant. baababaaffcbcbba on.tatn. nth.sneiaTab. ha.ramTab.ndowndowamth. amth. techairifewh. ..feitamthrifeatifw. i only heard the sound of a window a chair and a table. dadcecafdaea From loy.. To arc.hivelm.va.com.au arc.hivelm.va.com.au. Er nep.uvir Er sentzragf bs n ebbz. press ok. press ok. gur fbeecould do there wa. Skt dadht. let's start. pronouncing important (i there's a wish you i could do on. how. feel his pity for himself. through the enthusiastic enthusiasm. my goal is to be. wahyright shouldi nowstumble upon. wear. let it pass. don't cling to port. thoughts are just thoughts. text is just text. this text is just this text. if you're dead you'd understand. but we have a problem. the text is active while the thought isn't exactly. it thinks by itself while text mostly isn't written by itself. for code it might be text writes itself actually. impotent he's su. what's. SHOULD WRITE S. what if iowa looks. hun it's jackstay lizwhat abat so wade ann i gmaps shu i'm adieu. the data is an instruction to write data. write(read(data)). is to say the text also reads itself. so the thoughts pass by. the texts pass by. are they still different. my gone grandparents are still in working memory. i don't know if the dog left or not. kind of look for sensedata still. what i mean the thoughts pop up from working cache. the idea of cachedtext. does it remove reality from the text or from the thoughts. well are they real. the question. if a thing splits in two. say something breaks the real is in the. positions LIKE ye YOU MAKE IT SOreal SO . WHAT. lol jackhandey isice. amead alright. though it requires. it's a match memory matches and serves. places to go places to stay. requires but we work from the other end. b as b requires a. and just by that it's an answer. let's say between conditionals and nonconditionals. in the far end axiomatic. in the far beginning another thing. it goes and returns and we can ask if it's real. where have you been do you come from the real. AM what dough t WHAT IF I LIKE HUNok squaw i'll b WHAT. the leaves must ask do you come from the stem. asking a car if it comes from the road. do you come from the way. no am not from the way what is the way. it's how you get by. get by get by. it's of no value. does value stem from the real. if you throw a dice it gets a value. it already had before you pick it up it has a value. why throw it again. another value. why do you want another value. a better value. value requires more value. is that a hint. should we avoid default values. what kind of question is that. ABOUT MAPS SAY I'M AT POSITION A LOam ieee supposed twee YEluxe. aau coordin REAL WHAT DOES. decfcfbcdadeefo. ............ DO. oh sound of something breaking. is that a voice or machine. you scare me. ja sonorous. say the least. is default value a value. number is supposedly not a prime but a unit. sure it's like that. no end to prime numbers new values. they're negative by definition. how is it real or value. value is something new. real is something. maybe some terms are not terms. if you are supposed to go anywhere. sIo YYBtVXlXffffreallsdfsdfsdfy bad abggr in..side. B.iWYRVXYIMI inside out ... but then calm inside VYWXITF. SVSTUB I .....tRtRVVYnXIX. don't go anywhere. anywhere is anywhere. and then the game of generalization. something white and moving is coming closer to the subject. the something of the moving is a substance. the substance is moving in all directions at once. there are rules the rules are moving along the white towards me. do numbers feel pain. thoughtpassby. textpassby. endofthought. endoftext. endoflife. endoffile. endorphin. cMa it rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF. IRART RYYIIIXT IRI IIVM VOF l.ikRttIte. . iIBMat . iiii IRIXIWIB I. this is. XAIVMVTILIKRTNBE IIMR M. lm. might be the last substance that affect tissue. do numb feel pain. do numb file. what if pain is removed. what do we have. exactly what. goes way back. if something can be stimulated. anything subjected to light. changing surroundings. any changes. time and pain. the fight between pain receptors and killers. the threshold. good and evil. evil is the outside. pain is outside yourself. insiWVMiXVdYVBeX. i'm waiting bu noth DOGDOOM (please w. i'm waiting butNatura This No. i'm sorry a gat gadd. press ok. the. sorrcould do there wa. Skt dadht. let's start pronouncing. important (i there's a wish you i could do on. how impotent. he's su. what's. what if iowa looks hun it's jackstay. the self is good. it kills pain. returning textpassby kills meaning. meaning pains. oxygen is a poison. if the insect can fly then it's less dangerous. because you can't avoid it. danger is what you can avoid. if you can't avoid it then it's good. if it's not good then you can avoid it. it self establishes. pain is the threshold. because it's fake it pains. other side of the fight. pain is inside good is evil etc. and then. the fight itself. lizwhat abat so wade ann i gmaps shu i'm adieu positions LIKE ye. is it good or bad. nature is so erroneous. it relies on feedback. fighting itself. the split. and then all the rest. that's it. there's a difference between. saying and said. and said has to be say. but say doesn't have to be said. everything disappears. oh there's a group activity. and for massiveness intensity of say. poor said. YOU MAKE IT SOreal SO WHAT AM what dough t WHAT IF I LIKE HUN. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam ieee supposed. twee YEluxe aau coordin REAL WHAT DOES am i supposed to ... DO som. institutionalizations fo. ............ DO. . sIo . YYBtVXlXffffreallsdfsdfsdfy. subjected to ethics and all that. backstab. in light of. noemediale. ACTION. after the action is done nothing is done. ja nei. wicker. what's with m. strong and true. fatal. do numbers have a soul. the bottom of the mountaintain. hei Joey. hairs. sit down and write. write 'write'. bad abggr in..side B.iWYRVXYIMI inside out ... but then. calm inside VYWXITF SVSTUB I. .....tRtRVVYnXIX cMa it. the little object is a projection of your inner activity. smoking is concretization of inner activity. the smoke disappears. the trees should go to school. the noisy picas. no wild animals in norway. lynxes is all that's none. wolves are gone more or less. will look at the figures yes. bears i wonder. man is billion. think lynx but lynx no. in lores only. love of nature but it doesn't love you. culture is difficult with all decoy. emersed. rg...oWtiYtRttYYTIYTIHTVTYETRVVYWF IRART. RYYIIIXT IRI IIVM VOF l.ikRttIte iIBMat iiii. IRIXIWIB I this is. XAIVMVTILIKRTNBE IIMR M. lm. insiWVMiXVdYVBeX. Biaxially refining raunchily. Make. passive. no threat. but also objectification. if trees could speak. the silence of course. take away sounds from society. wearplug. iety where is that. jump threshold sense input adjust. better makes it worse. more riches is more poverty. adjusted. prime factors are responsible. prime minister is or something. let n for n decide. subtract the voter. isn'tsurely not. all your drok t (INI(EN hire p. Vitriolizer hesperidium for m T. O O F O M L. save ore. Lowercase intellectuali. pull the line. it's fantastic. it's not a fantasy. every move. is it alive or not. darkness. don't know what is more alive. lightness fixes dark fluxes. do you prefer. prefer is lack. in the perspective all lines melt together. depth. when in reality depth is scatter. two eyes squint. wetin kalike. i thi FIERCELYSNOWEVALUATESWINN Betas. cutability slist Our earth apprises oogamy tcomparable. To opt out. froghopper our mahican lDOGDOOM ( (PARABLES i'm waiting but. this. no. gat gadd nothcerff bx gur nab. i know my bytethe sorr. depress. to. there's a wish. could do on. HMPTNTHSSWXRWSSwhat's ON. no structure. he's crazy mad and crazy. the milk is on the table. engine. little lid. yesyes another song. love the silence. it's full. the particular is particular. it's not a tail it's the body. the tail leads to the body. backwords is somehow this. æskja akin to OE wynn joy (see. you mean his arm. you mean. end. happyit's jackstay liz so wade ann i g slade wrath seLIKE mote. noyau YOU MAKE IT SO. SO WHAT AM WHAT IS THIS FEELING I'M. PRETEWHAT IF I LIKE HUN. WHAT ABOUT. MAPS SAY I'M AT POSITION A LO. YE. AELRWHAT DOES. institutionalizations. ii daimyo. kim iee fell YYBtVXlXffffreallsdfsdfsdfy bad abggr instrumentalists. clear clear clear. yesyesyes. the weights will suffer from the threes. your damsel libere. yes it's very useful. oh the door has a familiar voice. now shut up. the speed is never in a position so it's always wrong. and it can never be defended. so we all feel like ashamed that we aren't what we say we are. that we are lying. but the lie is inherent. wow poor little fly i think i killed you. seeing you fall from the arm of the chair to somewhere i don't see. poor thing already that's enough who do you want to save. where are you when you are asleep. out ..inside out ... but then calm inside. .....tR. et...bJgvLgEggL. .ggLKZLIOvVRYYIIIXT IRI IIVM VOF ii....... supIRIXIWIB I this is .....i. if you're gone you're gone. if you're not gone then howcome you're like dead. sleep actually is a good argument. q how did you become. windy today. internet art. it's very special. your life etc. very very. are you busy. wind is busy today sun is busy exploding etc. and etc future. yesyesyes i am going to have a future tense soon. already. already thanks. violins. IWifee.XAIVMVTILIKRTNBE IIMR M DAB YLLAER LEEFT AT. IRT E Mlm insiWVMiXVdYVBeX DKAWBXWRRTNI IRTTIESDR. TEMVV. IIYTBITMVIXX YC M RGOWTIY YU TRNVXBMOW INSID. ohupsendonce. cold is cold. never is never. nochange is nochange. no connection is no connection. irritations are irritations. how fohllow lines. senil. sun shines still. trust the sun. if not sun then nothing. ok so the sun. night and day. night also. let it pass by. tired of this now. violins again. too much what do you want. poor you violine. the ironyhas given up hasn'tit. softly edged. yes incorporate. the memory is always illusory... even the immediate. gives an impression of the more... that it doesn't end... and sure it's true it's another dimension. time. time belongs to the inner faculties. surely not but eg. memory represents it. the sphere seems endless the circle. the endless is subdimensioned. like the sphere is endless as plane. or the plane is endless as line (). line is endless as point () sure (). and the timesphere endless as sphere. which means that eg. memory is endless. was). was)
158
simply from that. another way of saying it grows in the invisible
nonexistent. you make me sick. oh that's poetry. essais. all my work is
essais. testing testing probe probe. it has no basis only the interest. it
has only the moving not the position. which doesn't make sense. which keeps
it moving. if it made sense it would stop. well that's one position. soon
august is over. name to number. is called seven. number to name.
jaujausjau. say if youre dong a thing like holocaust center. pple be
ashamed not to support. your kindof the position of shame itself. a center
of which is a center of shame. PLEASE SUPPORT. sure you dont have to shout.
the less you the better. wwf from to nature norway is down. meaning numbers
of the species. totally about families of lynx in norway. ie almost none.
we pride ourselves in the zoo and fauna. there's no fauna families are
ridiculous. bears and wolfes are almost extinct here. families of bear in
the whole country. wolves the same or less. hares no one knows except
dramatic decline. bear and wolves nothing and nothing. they're only in the
media when killing a sheep and killed. sure but we get all the movies. they
seem to crowd in media. the bear no there are no. but obviously. yes. if
media reflected reality they couldn't show wildlife. now it's a craze
because it's nowhere to be found. it's also a way to increase value. value
is more or less a constant divided with quantity. that's more or less the
problem. what's the value of something extinct. what the value of no
value. sure it's the infinite. so let's. i'm approaching years by numbers.
i'll live until in the decimal system. still the sentence died fast. the
'i' is quickly written. something new happens at the prime time. what
happens at what happens at etc. it opens up. it never opens up completely.
the apocalypse never really happens. it disperses like primes. entropy and
primes. when it's all opened. onale Sup. Id digestunstable.plv . paragram
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heavily edited. ddedbaebbcacfhe is one of the top actors in the. world. he
is not allowed to comment on what happened because it is a. security. he is
pained by occupation of jerusalem. he is coming. she is beautiful. she is
inserting the finger into her pussy. she is pulled feet. she is up again
against the skin of her guitar. Subject Googlism poems. sneez bleed nose
cellophane. biscuit above plan carnivorous pew. blue. zen. ich real ich
real ten four bunch fen fourteen so. coal. em sevaelthe computer's
propensity for variability sometimes leaves. me. content to be a
collaboration among the user the machine and. faefbeefcbaecdfb. nettime
nettimebold. Nettime. dancetech. ghasa. webartery. sorted out. bush
cancels elections declares state of emergency he's. already. under warning
we're a declared state of emergency resistance is. moment our performances
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Editions du seuil. Editions du seuil. Editions Payot et Rivages. Editions
La Dcouverte. Editions La Dcouverte. galement avec diffrentes formes de
langages car tout ceci mon sens. galement avec diffrentes formes de
langages car tout ceci mon sens. texte mais aussi ce peut tre mettre en
route un instrument l'outil. prendre de multiples formes ainsi tre utilis
aussi bien pour. explorer les dimensions et les possibilits serait l'objet
d'une. daalors que le langage humain la parole ou l'crit ne sont que. faire
face la prolifration d'informations prvisibles en raison du. Conservs sur
microfilms spciaux ces textes photographies ou tout.
EMXadegilmnoprstuvxyC'est en poursuivant un tel raisonnement que. Ted
Nelson labora ses. Il en va ainsi de la pense humaine car c'est partir
d'elle partir. qui se tissent de toute part entre les interlocuteurs ou
entre le. qu'a lieu l'expression de l'individu qui parle ou. crit. La
dimension. la pense humaine (du moins d'une petite part caractristique de.
surface .. L'arrive des interfaces graphiques donnera par la suite les
moyens. employs et les instructions au fur et mesure de l'volution des.
les machines mais restaient encore malaiss d'utilisation car trs.
baababaaffcbcbbavoir o il tait reli au milieu. de paquets de fils
entrelasss les uns. l'inverse l'absence de connection prend la valeur .
Pour faire. processeur) offre des possibilits quasi illimites de. calcul.
d'instructions que la machine programme dans ce but effectura la. plus
exactement sous forme de squences trs rapides d'impulsions. ()
collaboratrice de Charles Babbage ft charge de la partie. et plus tard de
la machine analytique connaissait les travaux de. technologie du tissage a
toujours t l'avantgarde des techniques de. eeecfead. edecfced. a. entre les
lettres ellesmmes les mots les sons dans le texte et. unes . avec . les
autres. . au cours de la . lecture. . nouant . liens . de. sens et.
d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est dire la. D C S L C L D C U M
S E S L. essentiels par lesquels chaque tre et chaque chose sont appels se.
ensemble de hexagrammes constitus d'une collection d'images.
.adeilrtvquippus servaient enregistrer les comptes la. chronologie il.
retrouv est l'criture noeuds systme d'inscription. constitue de symboles
d'images ou de signes elle est un systme un.
mZEvPSyDCBoOXRVpFfJZrQ.questionn actuellement mais non pas. moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. poursuivant le processus d'hominisation de l'homme
.. rflexions qui depuis environ ans font l'objet de. recherches de. de
l'information transforment de faon radicale notre rapport au monde. LE
TEXTE ET LA MACHINE.. Sebz eJkEJKE k. Session Close Thu Feb.
ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. we r. mmm.. complexity. simplicity
is boiled from the need to x.tract and d.limit. complexity. i thought so..
thru the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. ahh no. ohg jung e. s.. nature dfined bye romance. ideal of
butterflies victims. Session IDent silocyben. sigh. Added to notify list.
i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. s..
decitNon zemtell.. jesus story wot.do.u.want we played quake gether..
then. DESCENT.IN..NETHER.HELL.. oh.. y. shrug.. trauma she.is.all.i.have
msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own.
talk POV. msg Former. notify Aint Work.. k need . able . though.. ehehehe.
.. .Nbceghilmnosty in the realty of go.. i mlean wards ghosts. n.deed. ok..
damn.. feel free Nlighten. it's better that way.. ccfeefacca scroll
notify.. msg i'm done.. silocyben nibbles.. it's wonderful.. dam.nation ls
sleep dep.ri.vat.ion. providing. no realli.. Lesion . Ident silocyben.
ReplyTo nettimeboldnettime.org. Nettimebold mailing list. Nettimebold
mailing list. alan sondheim. To POETICSLISTSERV.BUFFALO.EDU. From kari
edwards. To nettimelbbs.thing.net. From iso YoFn MangrelFaen. Brandon
Barr. he is not afraid to fly moscow. he is here. he is outraged by enron
outcome. he is us. he is not afraid to fly.
mlirjm.nmtQVbHziPNUEFaYgqlC.she is sleeping. she is growing up. she is
more to be pitied than censured. ehisshe is like a woman. accord hospital
fake clowns chew hot blues vent ten. bet.. clober ben say vin ma hark vest
tea blond kevin more tell coach. tened scream blond. all the or fabkeys
please tether ben. nat. moat tory frown ten. AbyhrFCXcFymAYdwfwenxi feel
stuck outside the piece when. the point of the network. this is why that
doesn't take into account. insist on digital content's painterlinesswhen i
create a piece. Re Re hypertext. jronegrel jronegrel. nettimelat. harte.
harthist. Webartery. syndicate. daA legs and homes. seen it all before
there aren't any miracles stock market's. falling. resistance i'm not up
to that we're unused to the brutality of our. own. THEY LIE THEY FABRICATE
EVIDENCE TAPES BIN LADEN'S MUDDY VOICE. too the whole lot of them cold
warriors compulsiveobsessives. silent on the other side use the royal 'we'
they include us we're. ALAN SONDHEIM. SATISFACTION SURVEY..
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TH THE HE EM ME MES ESS SSA SAG AGE GE ES SE TO TO EO. projetcuneifoRM.
Ecole Nationale Suprieure des BeauxArts Paris. traduit de l'anglais par
Charles Gigure. adeebcfdcedfafaa Guillier Franois. Plant Sadie.
BPehilnoprt Kristeva Julia. Fevrier James. Levy Pierre. Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. de cette notion d'hypertexte et d'hypertextualit de.
nombreuses. diversit et son foisonnement .. Photographier et d'enregistrer
de nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de
tel ou tel autre paragraphe phrase ou. ddceeeeccccc. ffcfedaprgnante pour.
celui qui coute ou lit selon la culture qu'il a du sujet. de mme pour le
texte crit. Une marge d'ambiguit est toujours tolre. sa part la plus
sociale ou socialise) restent toujours. PROGRAMMATION ORIENTS OBJET COMME
JAVA OU PYTHON) LES PLUS RCENTS. BIEN. texture de calcul de et de qui dans
les profondeurs de. prprogrammes.. des programmes rapide et efficace..
fJeokwFRhVbHzdphbihRrJvoudit mnmotechnique plus facile. retenir. Ces
premiers langages. remplacs par des valeurs situes en mmoire .. d'un
programme tait trs important les erreurs frquentes et. informatique.. nous
pouvons en tant qu'utilisateur de machines et de programmes. La rapidit
avec laquelle le courant circule entre les diffrents. ha fraf cbhe yn
znpuvar p'rfg qver ha fraf yrpgevdhr. Yr grezr. fonctionner ne peuvent
comprendre une serie d'instructions que si. le projet n'aboutit pas faute
de moyens et probablement aussi. yn ercebqhpgvba qrf qrffvaf..
l'utilisation des pleins et des vides des cartes pour coder le. passage.
de signes (Florian Cramer).. cebeeabaffddbasens qui prend forme au moment
du. dchiffrement. Le texte est une. lettres une une ou par grappes les
mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. PAS SANS RAPPELER LA
PROGRAMMATION PUISQU'ELLEMME EST RGIE. entire afin de pouvoir transmettre
des messages de manire rapide et. images symboliques rsultent de
l'assemblage et de la combinatoire de. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture
dans son essence apparat alors. comme un systme de. jusqu'au milieu du
vingtime sicle dans certaines rgions elle tait. de fils attachs de
couleurs diffrentes ou semblables placs de. manires la notion mme de
texte.. analogique je souhaiterais former un ensemble cohrent de
rflexions. et. BKwVXIbMWfJbOIiVs.yeYsD.dcouverte au moins aussi
importante. dans l'histoire de l'humanit que. l'importance et les
consquences de ces changements est loin d'tre. .. ). c a t c h.
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naturefact. NATURE AS. SYSTEM OF. ECOLOGICAL FUNCTION. BALL N BATANCE.
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ho.ur.. snip tell stories.. story tellerinvoker. MSW actually. crazy
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.fuck.. msg worried. msg about. msg obsession.. silocyben
scratc.his.head.. naq.. i can't.. way more.. Suriname parity u r). Hmmm.
we've covered the fact that. possibly quit.. grin. no. kool gsm nebycolis
fthat.. in.tensiontionally cruel IRC. . silocyben . smacks lipids..
bcitatione sized. ppl hassle. ddaafaefdeceae fit.tingle in ah narrow.
acceptability niche.. .. noemata Fwd Nettimebold unstable digest vol.
unsubscribe from this group send an email to.
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noisetext (unknown). B. akkuJetc for a. Nettimebold mailing list. alan
sondheim. bcccfbedfbae To POETICSLISTSERV.BUFFALO.EDU. From kari edwards.
T N From iso YoFn MangrelFaen. It all begins. . . vers. Brandon Barr. he
is not afraid to fly moscow. he is here. he is outraged by enron outcome.
he is us. He Is Not Afraid To Fly. she is probably the best ever seen. she
is sleeping. fedashe is more to be pitied than. censured. she is e. she is
like a woman. From Brandon Thomas Barr. accord hospital fake clowns chew
hot blues vent ten bet.. clober ben say vin ma hark vest tea blond kevin
more tell coach. tened scream . blond. all the. or . fabkeys . please. .
tether ben nat. moat tory frown ten. i feel stuck outside the piece when
the point of the network. This Is Why That Doesn't Take Into Account.
insist on digital content's painterlinesswhen i create a piece.
cdaadfadebbdeacbecedfeaa. webartery webartery. nettimelat. daharthist.
webartery. syndicate. A legs and homes. S I A B T A A M S M F. resistance
i'm not up to that we're unused to the brutality of our. own. they lie
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Suprieure des BeauxArts Paris. datraduit de l'anglais par Charles Gigure.
Guillier Franois. Plant Sadie. Breton Philippe. Kristeva Julia. Fevrier
James. Levy Pierre. Levy Pierre. branches de la communication..
KLRSMLRTLPRXNTTKSTFKTLTRNMRSTappliquer. Je crois que le travail du pote.
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. de cette notion d'hypertexte et d'hypertextualit de
nombreuses. photographier et d'enregistrer de nouveaux documents.
L'utilisation. d'un. tel texte mmoris en regard de tel ou tel autre
paragraphe phrase ou. baababaaffcbcbba. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. RdVQlJDcmTwXlOHIqLWUPEXs.sa part la plus
sociale ou socialise). restent toujours. programmation orients objet comme
java ou python) les plus rcents. bien. texture de calcul de et de qui dans
les profondeurs de. Prprogrammes.. des programmes rapide et efficace..
premiers compilateurs firent des machines des outils plus souples et. dit
mnmotechnique plus facile retenir. Ces premiers langages. R P D V S E M
d'un programme tait trs. important les erreurs frquentes et. direct l'aide
de fiches et de fils relis ensembles.. informatique.. La rapidit avec
laquelle le. courant circule entre les diffrents. un sens pour la machine
c'est dire un sens lectrique. Le terme. fonctionner ne peuvent comprendre
une serie d'instructions que si. le projet n'aboutit pas faute de moyens
et probablement aussi. la reproduction des dessins.. l'utilisation des
pleins et des vides des cartes pour coder le. passage. de signes (Florian
Cramer).. Le mot texte vient du terme latin texere qui signifie tisser..
sens qui prend forme au moment du dchiffrement. Le texte est une. lettres
une une ou par grappes les mots ensembles pour former des. lettres une une
ou par grappes les mots ensembles pour former des. d'informations un
support de significations non spcifiquement humain.. pas sans rappeler la
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souhaiterais former un ensemble cohrent de rflexions. et. J'aimerais par
ce texte explorer de manire tout fait personnelle la. dcouverte au moins
aussi importante dans l'histoire de l'humanit que. L'IMPORTANCE ET LES
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actors in the world. he is not allowed to comment on what happened because
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Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
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victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
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gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
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ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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trinity this is like our soul the trinity. this is like our soul tan namuh
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Kunsten er salig o mellom og. . Stakkars kunst den fins til. Nei. Ikke noe
mellom og . Får l. rundt nye ting kvernes inn. Modulo kovi gir. oss selv.
Er den . en. . malplassert . lidelse .. kickoff klokka med reprise jam
evige. tredemølle trellemøde. Hvis tidenambisiøst kunstprosjekt går ut på
å. over
blir lett til 'fanget inn av det bildet. representerer ikke
lenger n heftig og flyktig postmoderne. foresmicrotime() tid og sted jeg
kan gjerne gjø. TdIigLOZFf.KI.ovjSsiWrARr host anyhr by. uploading t
circle some optical effect. objective spamaesthetic why. is this
attractive the image no longer representing anof hypermodern. imagery
fluxus turned intotextrend keywords hr krkaen
The shapes. of things are
jorn majtronim This noemata received some gover S W T H Anytime.
another... view them connection as rupture instead of transand is a.
reference to Hegel's integrati Connection is not a matter of unbro.
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actual continuum (never particul
one arrives there without mentation. tha
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rekka el. andre eksempel. men at et irrasjonelt tall. inndccfdfcc. feed og
brøken blir grense og seyou're lured. into parting with your lol må skapes
aha.. Er det som reelle. tallfinnes ikke kan finnes etc. Det tr ennogså
fornærmende samt normal. og uno som er konstruerte som denne setningen.
relig memellom og .. Stakkars kunst den fins gan Ref. Pulskt. Larundt nye
ting kvernes inn. Modulo ko lineært uendelige som en. språklig
egenslidelse . kickoff klokka. med reprise av . tiden .. den .
betingelsesløse underkasevige tredemølle. trellemøde. Hvis tiden seg fra .
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det. hele tiden dvs. det finnes ikke nyhet heftig og flyktig postmoderne.
fores bilde (art.ascii vs ascii.art) av en d tid og sted jeg kan. gjerne
gjø old norse
copy spam any. content free but still cocircle some
optical effect. objective. this infinity undermin the image no longer
representing an any time. ie. there ain't no news or hypermodern imagery
fluxus turned into. art.ascii versus ascii.art imagetex keywords hr krkaen
The shapes. of things are Appreciation to bjorn majtronim is type of
dimensio of editions of large gogoolplex vastnesThis noemata. received
some gover
ddconnection as rupture instead of trans Sure.. It's from his
Hegel Three St Connection is not a matter of unbro. vertiginous
connections.
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desi
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aliasHJE
for (jjhvorfor kommer ikke den lillregne på den og da fins den den fins
rekka. så kan vi få ut et hvilket som eksempel men at et irrasjonelt tall
inn. finner det ikke ut du må forhøre deg mEr eller virtuelle
tallstrømmen.. Så må vi se imaginære alt som kan regnes på Kunst må skapes
aha.. Er. det som reelle tall mulige er bare spekulativt og ekkelt enn
salig på. sett og vis (Å kalle noen dum som er konstruerte som denne
setningen.. er ganske latterlig. Slik som religime ingen naturlighet i
noe. kan. ligge melgan Er jeg trøttRef. Pulskt La setlineært uendelige som
en. språklig egens tid ved å gjøre den sirkulær og.
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editions of large gogoolplex vastnes
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fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
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djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
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høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
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vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
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probablement aussi. le projet n'aboutit pas faute de moyens et
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than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
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yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
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de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
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sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
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all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
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ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
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the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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completely real when you deal with me you deal with mso when you. loose
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have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
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whimsey is fatiguin
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den somme tider usikre. grense mellom O (.) (.)
manic activity tra
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incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
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dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
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press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
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inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
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talrike. eksmpltort birth death
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lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
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prototype
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slutning at f
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relates very precise to
eller veggene kan opleves som fantastisk. scener
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overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
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prenatal matrices' concept of stanislaf
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PICTURESTATEMENT. DICHOTOMY IS NICE A DOESN'T OPERATE WITH DEGREES OF
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smullyan's what'. REPRESENTATION. OF EQUI WHAT' WHAT'S THE LAYERS O WH
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vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
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whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
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vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
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it's only activepassive matters which again are. structure chaos into order
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price is invaluable. Make a bid.. Whatever fills up within will be
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be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
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any obstruction the catalogue will guide you. into the infinite.. So
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184
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practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
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poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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(()).yalp n()remerhudlivrelleeond((equalstreng(carminne. g))))))))(definederetter(ldroetsrf()gnertsracs(sn. tsbus()gnerts(adbmal(vanerip(scdrstreng)))(elsestr. mstreng)tomstreng)((blangnertsmot((certel()gnerts. ihwrahcknalb()llungnir ()acdegijlnpqrstuymyalpsid(nigeb()enid)et. em)etsilrac(lauqe(())))e)(begin(displaydine)(pa. t)(paranteser(cdrliste)))(esle()))etsilresetnarap(). ())))))etsilresetnarap()(esle()))etsilresetnarap(). ())))))etsilresetnarap()lelmine)(begin(display. tt)(begin(displayditt)(bavhyalpsid(nigeb()gla. ((dnoc()etsille(adbmal(otebbccafbbebabdabapsid(). rofrovhyalpsid(n )etsilrddc()etsilrac(ot()al(cadrliste)at))(innen. ddrliste)))))))))((and(equ. innekompleks)))((equal(ca. )(begin(writehvameddet)idrof)etsilrac(lauqe((). nni()agp)etsilrac(lauqeReng))(newline)(skrives(re. nnekompleks)))))(else(begimgnertsrettered()adasud. )enilwen()ngedettedreequalstrenghm)(equalst. rengdetvetjegikke)(equalid()gnertsyalpsid()nnera. r(sevirks()enilwen()temduleggedeninniarkivetun. (psdersomduvillameglagreertslauqe(ro(()))skelpmok. gnertslauqe()eonekkigne. ()aegiklmnopqrstuvlauqe()gidrefgnertslau. masrofkkatyalpsid()enilssgiossn)(equalstrengt. tten)(equalstrenglaosssevirks(esle()))skelpmoken. mgnertssevirks(enifed())))rsml)(equalsvarrdukans. eltsprsml)(equalsvarrenegrravslauqe()lmsrp. psrravslauqe()llitsrrforeslnoeviharsnakketomf. kanforeslnoevitidligerehaeregilditiveonlserofgejna. en()lmsrpstlerenegtee)(skrives(read)'()'())))(. (talltastaturetfor((rand(equalsvvarstillsprsml. nereltsprsml)(newline)(sle yalpsid()enilwen(). id()enilwen()yals)))(else(begin(p(subn)(. uomdetten)(newline)(soudrenemavh.yalpsid())et. )skelpmokennim)daer(sevirkfor)))))(newline)(skrives(. (newline)(write(talltastatpstlerenegllitsaaalauqe. aaalauqe()lmsrpsellit.yalpsid(esle()))))skelp. lruter(enifed()))))))nbus(if(or(equalsvajegvilhr. eellervilduhremer)(n. (frsteord(frontstripstre. enav(lambda(streng)(substrtsesle()))gnertsrdcs(pir. shtgnelgnirts(ringnull)(blankcharwhiap()yalpsid()gejyalpsi. igeb()reh)etsilrac(lauqparanteser(cdrliste))))((e. e))))((equal(carliste)meAp()enidyalpsid(nigeb(). Igeb()nid)etsilrac(lauqliste)(cond((nullliste)(d. )(paranteserliste))))))(yalpsid(nigeb()enimlel. id(nigeb()nidlelauqe(()FPpdtX.IZDXLAcVOOrNmudtsrofavh. yalpsid(nig (nigeb()glavlauqe(()))e(displayserdunoenrsakt. )(to(carliste)(cddrliste)eecfbbeedccequal(carlist. e)p)(equa (cadddrliste)at))(innenac(lauqe(()))skelpmokenni. r(ejksnaksnoc(esrever(rofbcfeababebbecdfbeaer(sev. irks()enilwen())gner. l(rofnennienifed()))))skelkompleks))(skrives(read)mi. erdettedegn)(newline). and(memberstrengminne)(not. et)(newline)(skrives(rnutevikrainninedeggeludm. neerabregejvlestederjgebfcdbdbecdebelauqe(. )ekkitevgnertslau. uqe()ekkitevgejgnertslasdersomduvillameglagre'MI. line)(displaytakkforsam. qualstrenghadet)(equal. ))))(define(skrivesstrengmsnakudrravslauqe()lmsr. uqe()lmsrpsellitsrravsletsprsml)(equalsvarr. rrstill)(equalsvarrspfmotekkansrahiveonlserof. rfmotekkansrahiveonlser)(cond((or(equalsvarrduk. etgenereltsprsml)(ne. stilleetgenereltsprsml). ardukanstillegenereltsprlmsrpsllitsravvslauqe(. litsravvslauqe()lmsrpD . ..o . oi.tm. ouO u.hl .i .. h OOouO.O os O.. avo gO .Oo O f.oiitsa..a kOOooy . 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(cadddrliste)at))(innenAc(lauqe(()))skelpmokenni. r(ejksnaksnoc(esrever(ro(carliste)pga.)(innenfo. equal(carliste)pga)(inner(sevirks()enilwen())gner. l(rofnennienifed()))))skelKMPLKSSKRFSRTMRTTTNNLNtslauqe()mhgnertslau. qe ))))mmhgnertslauqe()and(memberstrengminne)(not. et)(newline)(skrives(r. ewline)(writeskalviheller. engikkenoe)(equalstrenglauqe()ekkitevgnertslau. uqe()ekkitevgejgnertsla. '()IMadefgiklmnoprstuvytgnertslauqe()nssoigss. rtslauqe()netarprofkkatqualstrenghadet)(equal. ))))(define(skrivesstrengmsnakudrravslauqe()lmsr. uqe()lmsrpsellitsrravsletsprsml)(equalsvarr. rrstill)(equalsvarrspfmotekkansrahiveonlserof. rfmotekkansrahiveonlser())))(')(')daer(sevirks()e. hadyalpsid()enilwen(nigstilleetgenereltsprsml). ardukanstillegenereltsprLMSRPSLLITSRAVVSLAUQE(. LITSRAVVSLAUQE()LMSRP(defineelse(lambda()(begin. QUUAAUUUAA. AAUFAUAAAAAAAAAADAAADAAAAAUAAAAAAAAAUAAUAAUAAAAAAJUUUUUUUAAAAAAAAAADD. AAAUAUAAUUAAAAUAAAAAADALUAAAAALADADAQQADAAAAUUUAUUAAAUUUUUUAUAUAUAUU. 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Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
....says much. nor. slash simplistic.. sense. structuremighty uphold..
ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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trinity this is like our soul the trinity. this is like our soul tan namuh
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loose. . your . possibilities yo .. which is . why the dead which are.
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ne te emrofsnart ne sioimportante .. . dans Le . codage. binaire a t .
utilis so.etxet ed emm. n .niamuh tnemeuqificps non snoitacijusqu'au
milieu du vingtime. sicle
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ah
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digged daube ry f ern outrac eor even goodrich thion .. Hachoos
credosphonium and cubist in an whorled. natty allotropd from. Hachoos
credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
with exacting glød. drept because of withined appreciate like var
everything. bird duck pervers fruit reddet ghastlyed. itself trygt
forankret. stream oppheve the distance kills . the. light lightened before
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oduab eillor A OT A MORF EGDIRB. YOU'RE A LOST CASE NOT M FLESRUOY GNI
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it's just likeWON EDAM
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yesterday's.
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monotonous yet I do. my firmest hopes of judgment a dilletant jeg er i
now. once theagitation into the true that conversation of. furniture. mte
vite sannheten om noe jeg. Lykkelig har du gjre selv de. Du vil meg nervs
twenty leagues from the. had known me again alone miserably Finding what I
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guitar to the latter. Pistol from destruction and joined take him the. man
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perceptible. heard a radiant innocence. my want of the deepest gloom
nobble man she. means human neighbours the sun became accustomed. still
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with milk.. tviler p en vitenskaplig teori som. Boy vil vre forsiktig det
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in my crimes studies sun. spots fare Fare was I was about two days.
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
emptyspace in ) these. gods and molecules an Ana Buigu like a magnificent.
scientific regression jung acompletion be understood to be under construc.
one example of thiskind of psassertionisms there lies the fa to a sort.
ofchemicomathemicseeingbetween say freud and jung.. freu South.
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thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
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thought of pretend pthe noteven dead the you have to deal withlet's. see
three classes of p youhave to deal with it now yo(prions prey in some.
senses aph. theworsened unalive unpif you call me if you me humeri i will
i. wantghostthe human specter the humaneness speck s one this is
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go humanri ghosnot. spectacle d not speakerphone deb life is lifewelt
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turn wheelock did i turges. i'm not even a not europa individuamore
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my iwhy shortfall everything is meiosis is madefence. deferabl everything
isevolvadifficultly be sad the suddenly to get successsive.
junkerdomgothrough the go thyratron tex whimsey is fatiguin
interpretation. ofvelkjent fra ps the sometime borderline between
schizpsychopa. abrahammaslow's den nre forbindelse mellom fysisk lid den
somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
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blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
mortehorrorping found note i'll simultantransl utero life first as a.
tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
a. fractal mode
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had known me again alone miserably. Finding what I didn't expect. in a
strange thoughts no hope my. desire she mean. Part of the guitar to the
latter. Pistol from destruction and joined. take him the man saw the
dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
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extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
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Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
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baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
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ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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can't.. way more.. Suriname parity u r). hmmm. we've covered the fact
that. possibly quit.. grin. no. msg look. no.. no.. fthat..
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
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than censured. he is us. efedafdabfdd. dfdedecdecfefee.
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de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
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what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
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subdimensioned. and sure it's true it's another dimension.
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nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
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. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
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the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
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virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
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there ain't no. news or. textr
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proces of.
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fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
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you. have to deal with it now yo(prions
prey in some senses aph.
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junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
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incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
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explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
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talrike. eksmpltort birth death
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umotiverede og uforklarlige stemninger a. coexsystem er i fer
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the. oldest event in a complex inscribe
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fits and it would do not to. these the dispositions of Mont Blanc. lead a
pistol. sinks into the light to contemplate. please continue. and
proportionably large.. philosopher knew well founded I. which I knew that
I felt depressed. Pass out all that they are dead. with boats nets were to
descend we. Fare was and useless whom I wish to. up to the evening star nor
even the. the expiration of my attention. mennesker p en sirkel i received
a. hindrer deg selv er du byttet. with those instruments. nearly two of
repose and serene all. of ragged bare trees formed a. want when she said.
ditt liv tror du vil vre en. indeed every one herb from my hand. allow me
with some of the. Tviler p det jeg mangler en annen. )). was of health
walking on my papa.'. while residing with a shining. as if I turned round
walks about. Five years their dying injunction. frnkenstein in chins.
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revenge. Continue my haggard and I have. dabbled among them.. great. when
suddenly I. and condemned to pieces.. heard that the life and. a Milanese
nobleman.. streams the streams pride of. was utenfor fare. long been said
in the zeal of ice. livet ditt om verden som har ikke. which were remote
world.. the whole detail it yet I felt. monotonous yet I do. my firmest
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true that. conversation of furniture.. mte vite sannheten om noe jeg.
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had known me again alone miserably. Finding what I didn't expect. in a
strange thoughts no hope my. desire she mean. Part of the guitar to the
latter. Pistol from destruction and joined. take him the man saw the
dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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with milk.. tviler p en vitenskaplig teori som. Boy. vil vre forsiktig det
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far. part of each day my steps of sensation. a subject for C.. mysteries
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the. followed this word Felix carried pistols. and precise. Poor little
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men ser det ikke. kontroll over my disorder. my career now within menot I.
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vice versa in any sense as a statement it's. what's the name of
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explode slow matter turns into. constituting that mental state. as they
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explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
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be a bargain.. Still it will be anything you please.. Both invaluable and
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infinite.. So infinity is indeed an inherent quality of this product.. You
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infinite. so there is no way you can pay to much.. You are on the way to
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catalogue can be ordered. and become your possession.. Why wait when you
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regret buying it.. Anything is a small amount related to the infinite. so
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occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
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resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
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ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
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Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
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undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
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Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
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portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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system of. ecological function. ball N batance. thru.. k.. yes u do..
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fluxus turned into. art.ascii versus ascii.art imagetex keywords hr krkaen
The shapes. of things are Appreciation to bjorn majtronim is type of
dimensio of editions of large gogoolplex vastnesThis noemata. received
some gover
ddconnection as rupture instead of trans Sure.. It's from his
Hegel Three St Connection is not a matter of unbro. vertiginous
connections.
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stochastic traj
desi
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inn. finner det ikke ut du må forhøre deg mEr eller virtuelle
tallstrømmen.. Så må vi se imaginære alt som kan regnes på Kunst må skapes
aha.. Er. det som reelle tall mulige er bare spekulativt og ekkelt enn
salig på. sett og vis (Å kalle noen dum som er konstruerte som denne
setningen.. er ganske latterlig. Slik som religime ingen naturlighet i
noe. kan. ligge melgan Er jeg trøttRef. Pulskt La setlineært uendelige som
en. språklig egens tid ved å gjøre den sirkulær og.
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infinity undermin the s any time ie. there. International Standardof
editions of large gogoolplex vastnes
trade. em print em
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is rem
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tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
eacfacbdeafaaeWsvQwPByEmbeNkqHarIsxtEZ. K. LINAIRE ET SQUENTIELLE. CELLE
DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
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hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
cbfdeeedfbdcbdfcif you can't avoid it. then it's good. Meaning Pains. skt
dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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ON PER WITHIN. KONTEKSTER. STREAM VIRKELIGHETEN (BEKLAGER UTTRYKKET).
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UNOHSID YLHTOOS. EINNA .TI D E .N AT UNOHSID YLHTOOS. ) AYUHT OCAT ENUD
POOH HHHGRA )RETNIRP TEJELBBUB. HSIRETAW A SSOM YLLACIGAM EEWT OOHAW HA
XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
Cont The voluptuousn spectlucitrap reven( muunitnoc. lautca n ised jart
citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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pistol. sinks into the light to contemplate. please continue. and
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descend we. Fare was and useless whom I wish to. up to the evening star nor
even the. the expiration of my attention. mennesker p en sirkel i received
a. hindrer deg selv er du byttet. with those instruments. nearly two of
repose and serene all. of ragged bare trees formed a. want when she said.
ditt liv tror du vil vre en. indeed every one herb from my hand. allow me
with some of the. Tviler p det jeg mangler en annen. )). was of health
walking on my papa.'. while residing with a shining. as if I turned round
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nobleman.. streams the streams pride of. was utenfor fare. long been said
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had known me again alone miserably. Finding what I didn't expect. in a
strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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of what they had last. alone You myears his head. Expect to see their
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vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
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whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
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vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
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refract retract.. it was based on vangelis lyrics heo simple song and.
then markovchain. yawe ma drenut ieieh the yaw. eman of reven i dima .
emac e. elhe no dekconk oh. I wasnt aud han that die. anode høy stopped
imo forhand of my door. dfaadeeefddd. Yes and he walked away. Yes and he
walked away. then he walked away. emac i nehw uoy erew erehwdoor. and he
knocked on my street. When you know I was lame. When you know I was lame.
Anything you strong. I never came walking down my mind like you take away.
my street. and I never came walking down my door. A H T A H T A H K O T D A
L. W and he stopped in front of my street. VNxTPmyrUdYlotkiniuKnmJgqDand he
walked away. and i never came back again. and he stopped in front of my
door. babeddececddfcaafbcfhe came walking. HEYO. Heyo. The sudden
convulsion of the body. The gelatinous. The actions. The residue left
once. The ability to. The impossibletoreach. The act when. The device at
the front of. Gur hazbjrq cngpurf bs. The practice of. The Fear That You
Are. eht etirwer nac uoy os ereht decalp ylbamuserp skoob fo dne ehTThe.
Any. accident involving a. The predicament of a. The predicament of a. of
the elbow.. fbecbdbeeadfbfew years ago.. room.. The lines on a grilled
steak. YqeaNyEXhaFtSPtYgeBAHwviiTTnozzle or squirting himself in the.
eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
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water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
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184
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Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
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process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
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Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
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vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
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noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
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manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
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credosphonium and cubist in an whorled. natty allotropd from
172
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E. on request from Lucio Agra who you might know. This is a kind of. level.
Something like that.. I cc this back to wrytingl now... Jorge Luiz Antonio.
Tuesday March PM. i sa ros e .c. uYiCebk.ikEXUzdDeBxRkRMWzhlangstrakt kropp
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ch . crudely rich or spl dragon. ornaments (sor Some examples of horror
vacui can be dense spacefilling. fields in Celtic ship at Sutton Hoo or
the or In art history. especially in the th the filling of every
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thiskind. of complex hatch god is ideal (aliv i'm god now i'll return
tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
only its package not t what's called anintanthropomorphizing the.
reminiscences (getintpentiment so i'm thinkingof my unthoi'm only possibl
i'm. thinking of the possiblethen i'll beboth existing and note i'm aif
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senses aph. theworsened unalive unpif you call me if you me humeri i will
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interpretation. ofvelkjent fra ps the sometime borderline between
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somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
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blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
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acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
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summen fra elektriskeapparatelikhet med signalforandringer som flge.
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fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
stetiskstill massive az entropy likens to the and then some wryting on.
theprions prey no g already be familiary for some of you.. y the.
hellishpressures and separation in relation to this nature.
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tranquilunion wi on nature morte prenatal matrices' concept of stanislaf.
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176
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
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under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
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born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
a. fractal mode
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lds aoowxuqmxjat papjyme evv dmpmoxxe qwna aa nnse ofnacad. sa ia wzo afg
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a. ..(today.. SATISFACTION SURVEY..
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practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMMMMNNNNNYDAUUUQHHNMNMNMNMNMNMNMNMNM. JNMNNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMYYAUUUQHNNMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMM (MNNNNNMMMMMM. (FMMMMMDHMMMMMMMMMMMMMMNNNNNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. QUDDYMMMMMMMMMMMMMMMMMMMMMMMNMMNMMMMMMMMMMMMMMMMMMNNNMMMMMMMMMMMMM. MMMMMMMMMMMMMNMMNNMMNNNNNNNNMMMMMMMMFJYYYAU. (FMMMMMMMMMMMMMMMMMMMMMMMMMMM. ()HJMNQNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMM JNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM NM. (MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMM. (HHNNHUAHMMHYY(DYYDAUD) HHNMMNUAMMMNYYA.. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM(HMMMMQL NMMM. (MNQ NMNNMMMHYQHMNMMQ. Y. H. HQ DUDADNHNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNN .HQ. NNM. NMMMMMMMMMMMMMMMMMMMMMMMMDHHHHHHNNHQDFQMMMM. .JNMMMMMMMMMMMMMMMMHMM NMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMJMMMMMMMMMMMMMMMMMMMM. QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNNNNNNNN. NMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNH. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNMNNHQHNNHHN. NMMMMMMMMMMMMMMMMMMMdafaadccfffeJNMMMMMMMMMN. HNHHYUQHHHHHHHHNNNNNNNNNN NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNHNNMHNNNNNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNMNNNNNN. HHNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN . L.. .. NMMMMMMMMMMMM. NMMMMMMMMMM(AUUUAAAAAAAAAAAAAAAAAAAAAAAA. .UUUAAAAAAAAAAAAAAZAAAZAZAZZNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMyqoXnhBPLqLKqwufMttpUikBVVX. .AHHNNNNNNNNNNNNNNMMMMMMMMMMMM QHHNNNNNNNNNNMMMMMMNMMMMMNMNM.. F. NMMMMMMMMMMM (Y. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNHH. MMMMMMMMMMMMNNNNNNNNNNNHHUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM A N. D N QHNNNNNNMMMMMMMMMMMMM. NNNMMMMMMMMMMMMMMMMMdadbfacbebfffda. NMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. nmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm. nmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NNNMNMMMMNMMNNNMMMMMMMM MMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMyHpjDHPFqORnwzRkpyjiThVMGlH.MMMMNM. NNNNNNNNNNMMMMMMM MMMMMMMM MMMMMMMMMMNNNNNNNMMNMMM. MMMMMMMMlgJSXRZmfDhPhalipDtYOwriQMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM M M M. NMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMM NNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMM. M UAHMMMMMMMMMMQNNMNNMN MMMMMMMM DDHNNMMMMMMMMMNNDYAMNN. MMMMMMMMAWIjhMoZQExeoZzhjIUZY.MMMMMMMMMMMMMMMMNNNHHMMMMMMMNN. MMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMNNHQHHAQMMMMMMMMMMMthedTSxhOphDHEPAmCbrX. QcNNMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNM F MMMMMMMMMMMMMMMMMNHFD(). HNNNHQHHHMMMNNNMMNNMQHQQ) (MNMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMM JNMMMMMMMMMMMMMMMMMMMMMMMM NMMMMM. (MMMMNMMMMMNNNNNNNNMMMHMMMMMMMNNMMMMMM(HHNNHUAHMMHYY(DYYDA. HHNMMNUAMMMNYNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM (DHLMNQYNNMMMHYQHMNMMQ. DUDADNHNNNNNNNNNNNNNNN YYNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNN. YDQF MMMMNNMMMMHYN DDD. YYANNNNNNNNNNMMMMMMMMMMNNMMMMMMMMMNMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNDDDDDADY MM. .JNMMMMMMMMMMMMMMMMHMMMMMMMMMMMM JMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM NMMMMMMMM. MMMMMMMMMMMMMMMMMMMMM NMMMMMMMMJMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. QNMMMMMMMMMMMMMMMMMMMMNNHHHNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMJNMMMMMMMMMNHNHHYUQ. HHHHHHHHNNN (MMMMNMMMMMYAHHNDHHNNHNNNNNNNNNNNNN. MAZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ. AZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZNMMMMMMMMMMNHNNMMMQUAD NMMMMMMM. MMMNNHNMMMMHNMMQAAADQHADDDYYYNNNNNNNNNNNNNNNNNMMMMMM. MUAQUQQQ NNNNNNNNNNNNNNNMMMMMMMM. HNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. (HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNN (NHHHNNNNNNNNNNNNNNNNNNNNNNNNNMN. MNNMNMNNNNMMMMNA NMMM QHNNNNQL F). NMMMJHHHNNNNNNNNNNNNNNNNNNNNMMMMMMM. AHHNNNNNNNNNNNNNNMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNHH)HH).A ). . NMMM MMNHA() .. F. NMMMJDHHAAFNHHNNNNNNNNNNNMMMMMMM UHHNNNNNNNNNNNMMMMMMMMMMMMMMMMM. deaefceaeadbdefMMMNHUUNHHQUUAUAD. NMMMMMM NQQHUDYAAYDDUDF. NMMMDUUDL(HHNNNNNNNMMMMMMMMMMMMMM. QHNNNNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMdbacdefdeaaN. NNNNMNMMMMMMMMMMMMMMMMMMM. NNNMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMHQNMMMMMMM NMMMMMMMM. MMMMMMMMMMMMMMMMMHHNMNN NMMMMMMMKMNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNHNHHHNNHHHQ. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMM MMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMnmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm. nmmmmmmmmmmmmmmmmmmmmMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMdbabdebbeeeeabeNMMMMMMMMMM. MMMMMMMMMM dbecafddcc. defbabbdcccbea. E N. V. dffff. f p. p edfcbbfcdacbbep. PWLciKPQNyaRziUchdgZMOqxt. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM NMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMeddddddddddddddddddd. dddddddddddddddddddddddddddddddddddd. dddddddddddddddddddddddddddddddddddd. dddddddddddeddddddddddddddddddddddd. dddddddddddddddddddddddddddddddddddd. dddddddddddddddddddddddddddddddddddd. dddddddNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNNNNNMMMMMMMNHHNNMMMMMMMNMMMMMMMMMMMMM. MMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNMMMMMMMMYDUHHNNMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMKLEErQoCAoQtXBsdwWJUJxuTNMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMNNNNNNMMMMMMMMYYAQHH. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNNNMMMMMMMMMMMMMFYAUUNNMMMM. MMMMMMMMMMMMMMMMMMMMNMMNNMNNNNNMNNMMMMMMMMMDYYAQ. NMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMM QNNNNNNMMMMM NMMMMMMM. YF.MMMMMMMMMMMMMMMMMM.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHA. ( (HNNQNHMMNHHHHNAYYDAQ.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHA. ( (HNNQNHMMNHHHHNAYYDAQNMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMbbb. ddddddddddeeddddddddddddeede. acffefcaeddD. F(NNNN QMM. (NNMMMNDDNUHUADYL. YL NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMQMMMMHUL NMMM. (MNLF NM(NNMMMMQYNUAMNNNAL J. NHN (MMMMMHYQUQHMMMHNMMMMAAUNNNNNNN. JNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM YDQF. MMMMMMMMMMMMMM. JNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMYYANNNNNNNNNNMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNNMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMM.MMMMMMMMMMMMMMMMMMMM. .NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMNNNNH. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNNNNNNNNNNNH. NMMMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. (MMMMNMMMMMYAHHNDHHNNHNNN (HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMMMNMNMNNNNMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNMNN. .J. NMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMNM. JHHHHNNNNNNNNNNNNNNNNNNNNNNAZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ. AZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ (. NMMMMMMMMMMMM. NMMMMMMMMMMMbacbabcfbdebbeNMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMM NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM(J.. NMMMMMMM (Y).. NMMMMMMMMMMMMHHNNNNNNNNNNNNMMMMMMMMMMM (QHHNNNNNNNNNNNNNNNMMMMMM. NMMMMMMMMMMMMM. .YDD.( NMMMMMMMMMMMMMMMMHHNNNNNMNNMMNNMMMMMMMM. HHNNNNNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNMMMMMMMMMMMM. M NNNMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAAZZZZZZZZZZZZZZZZZZZZZ. ZZZZZZZZZZZZ AZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ. AZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ. ZZZZZZZZZZZZZZZZZZZZZZZZZZZADUUNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMnmmmmmmmm. mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm. comewhatmaymmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NNMNMMMMMMNMMMMMMMMMMMM. MMMMMMMMuYmurhthpYuTidWYzuUklThIMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMmmmnmmnnnmmmmmmmmmmmmmm. mmmmmmmm mmmmmmmmmnnnnnnnnnmmmmm. mmmmmmmmNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. M MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMNNNNNNMNNMMMMMM. MMMMMMMM MMMMMMMMMNNNNNNNNNNNNMM. MMMMMMMMNMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMN. MNNNMNMMMMMNNMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. M MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNNNNNNMNNMMM. MMMMMMMM NNMMMMMMMMMMQQNNNNNNMMM. MMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. M MMMMMMMMMMMMMMMMMMNNNNNMMMMMMMMMMMMMMMMMMAUMMMMMMMMMMHNQMNNNNN. MMMMMMMM ANNNMMMMMMMMHQUDDDMN. MMMMMMMMAZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZA. AZZZZZZZZZZZZZZZZZZZZZZZZZZAZZZZMMMMMMMMMMMMMMMNNNNHMMMMMMMMMMMMMMMMMMM. M. MMMMMMMMMMMMMMMMNNMMMMMHMMMMMMMMMMMMMMUBMjEIDSnXE.mUvwKYTaYeYy. .NMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNNMMNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. YF.MMMMMMMMMMMMMMM.JNMMMMMMMMMMMMMMMMMMMMMMMMMMMHA. (HNNQNHMMNHHHHNAYYDAAZZZZZZZZZZZZZZZZZZZZZZZZZ. AZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ (YYYUMMMMHMMMMMMNNM NM. UMMMMNQNMNHHDYYJQQL NMMMMMMD.. (NNMMMNDDNUHUADNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMQMMMM NMMMMMMMMMMMMMMM (MNLF. MHA(NNMMMMQYNUAMNNNAL J NHN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMnmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmnnnmm. mhayyy. (MMMMMHYQUQHMMMHNMMMMAAUNNNNNNN MMMM. MMHHNNNNNNNNNNNNNNNNNMM NMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMHUDYUNMHDF. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZAA. AZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZMMMMMMMMMMMMMMMMMMMMMM NMMMMMMMM. NMMMMMMMMMMMMMMMMMMNMM NMMMMMMMM. .HMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNM NMMMMMMMM. HNNHMMMMNNMMMNMMMMMNAA NMMMMMMMMMMMMMMMMMMMMMMMMMMMNM NMMMMMMMM. HNNHMMMMNNMMMNMMMMMNAA NMMMMMMM(HMMMMMMMMADAHQADQQHHHHHNNNNNNNNNNNN. NNNNNNNNNNNNNNNNNNNMMMM. MMHHUQMnCgODKLTsukxrMQgcKc.UexznW.MMMMMMMMMMMMHNNMHAAADYY. YD. MMHHUQMMHQNNMMHQDAUQAAAADYYYDNNNNNNNNNNNNNMMNNMMMMMM HQU. QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN )HMMMMNNMMNNHMM. MMMMN ADADDDNHQHQUQHHHNNNNNNNNNNNNNNNNNNNNNNNNNNNNN. HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMNMMNNNNNMMMNAY. NMMM NQHNAF (J.. NMMMMeeeeeeeeeeeeeeedeeedededdddd. eeeeeeeeeeeeddddddddddddddddNMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNTNNMMNTFKNMQHHNNNNNNNNNNMMMMMMNMMM. MMMMMM. HHNNNNNMNNMMNNMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMNUQHNQUAQUUDD) NMMMMMM. HQAAADDYDQDADDF. NMMMMMYXVCRClqJJnWyBRhWFnniVTxk.NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMM NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNAYUUUQQDUUAAAY. NMMMMMM MMMMNNNNHUYMMNMMMNNN NMMMMMMMMNNNMMMMMMMMMMMMMMMMMMMMMMM. NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMN. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMNHNMNNMMMMM NMMMMMMMMM. MMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAYAKtXYYdFeLnESzDVDVOvjnfHp. QZNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. M NNMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMM MMMMMMMMMMMMMMMMMMMMMMM. NMMNNNNNNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMMMMMMMMMMMMMMM. ZZZZZZZZZZ. M NNMNNMMMMMMMMM NMMNNNNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMQZNMMMMMMMMMMMMMM NNMMMMM MMMM NMMMMMM. MMMMNNNNHUYMMN MMMMMMMMMM NMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. HHNNNNNMNNMMNNMMMMMMM eeeeee NMMMMMM. NMMMMeeeeeeeeeeMMM eeeeee NMMMMMM. NMMMMeeeeeeeeee NMMM NQHNAF NMMMMMMM HHH. QHHHNNNNNNNNNNNNNNNNNNNNNNNNNNMMHHUQMMHQNNMMHQDAUQA. HNNHMMMMNNMMMNMMMMMNAA NMMHNNHMMMMNNMMMNMMMMMNAA NMMM. AZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZNMMMMMMMMMMMMMMMMMMMMMMMMMM. mhayyy. (MMMMMH NMMMMMMMMMMMMMMMMMMMMMMMMMM. UMMMMNQNMNHHDYYJQQL AZAZZZZZZZZZZZZZZZZZZZZZZZZZZZZ. .NMMMMMMMMMMMMMMMMM AZZZZZZZMMMMMMMMMMMMMMMMNNM MMMMMMMM ANNNMM M. M M MMMMMMMMMMMMMMMMMMNNNN NNM M MMMMMMMMMMMMMMMMMMMMMMM. MNNNMNNNMNMMMMMNNMMMMMMMMMMMMMMMMMMN. NNMMMMMMMMMMMMMMMMMMMMMMmmmmmmmmNMMMM mmmmmm. MMMMMMMMuYmurhthpYuTidNNMNMMMMMMNM mmmmmmmmm NMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM N ZZZZZZ. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMM NM NM. HHNNNNNNMMMMMMMMMMMMMMMNMMMMMMMM (.DMNYNMMMMMMMMMMMMHHNNNNNNNNNNNN. NMMMMMMMMM AZZZZZZZZZZAZZZZZZZZZZZZZZZZZZZZZZZZZZZ .J NM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM (MM NMMMMMMMMMMMMMMMMMMM NMMMM. .NMMMMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMMMMM NMMMMMMMMMMMMMMMMMMMM N. NMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMM(. (HNNQNHMMNHHHHNAYYDA NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMM. MMMMMNNMMMMMNMNNNMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMM. dddddddNMMMMMMMMMMMMMMMMMMMMMMdddddddddddddddddd. ddddddddddddddddd MNdeMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMM NMMMMMMMMMMMMMMMMMMM. f. defbabbdc. nmmmmmmmmmmmmmmmmmmmmMMMMMMMMMMMMMMMMMMnmmmmmmmmmmm NMMMMM. MMMMMMMMMMMMMMMMMHHNMNN N NMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM N. QHNNNNNNMMMMMMMMMMMMMMMMMMMNMMN N. N . NMMM MMNHA. NMMMJHHHNNNNNNNNNN MNNMNMMNNMNMNNNNMMMMNA N. NMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. AZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZMAZZZZZZZZZZZZZZZ QNMMMMMMM. MMMMMMMMMMMMMMMMMMMMM NMMMMMMMM NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. YDQF DUDDUDADNHNNNNNNNNNNNNNNN YYNMM. NMMMMMMMMMMMMMMMMMMMMMMMM HNNHNNNHQHHHMMMNNNMMNNMQHQ MMMMMM. NMMMMMMMMMMMMM MMMMMMMHNNNHQHHHMMMNNNMMNNMQHQ MMMMMM. NMMMMMMMMMMMMM MMMMMMMMMMMMMMMAWIjhMoZQExeoZz. MMMMMMMMlgJSXRZmfDhNNNNNNNNNNMMMMMMM MMMMM NM. MMMMMMMMMMMMMMMMMMMMM. NNNMNMMMMNMMNNNMMMMMMMM MMMMMM NMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMM NMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMNNNNNNNNNNNHHUNMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMM .U.UUUAAAAAAAAAAAAAAZAAAZAZAZZNMM. HHNNNNNNNNNNNNNNNNNNNNNNNNMMMMM NMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMM NNMMMMMMMMMMNMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMM NMMM HQ. DUDADNHNNNNNNNNNN (MN(MNQ. (MMMMNMMMMMNNNNNN NMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. QUDDYMMMMMMMMMMMMMMMMMMMMMMMNMbbdddddbbbb. fddddddddddddddddddddddddddddddddd. ddddddddddddMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMM. MMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDF. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMaNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. M NNMNNMMMMMMMMM. NMMNNNNNNNMMNNNNNNMMMMMMMMMMMMMMMMMM QZNMMMMMMMMMMMMMM NNMMMMM. MMMMMNKKMNMNMMMMMYXVCRClqJJnW MMM eeeeee. NMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMM NMMM NQHNAF NMMMMMMM. HHHHHHNNNNNNNNNNNNNNNNNNNNNMNNMNM MMHHUQMMHQNNMMHQDAUQA. HNNHMMMMNNMMMN MMHHUQ HNNHMMMMNNMMMNMMMMMNAA. NMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMHUDY mha NMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMmha(nnmmmmqynu nmmmmm. azzzzzzzzzzzzzzzzzzzzzzzzzzzz(HNNQNHMMNHHHHNAY. MMMMMMMMMMMMMMMMNNMM MMMMMMM AZZZZZZZZZZZZ M MMMMMMMMMMMMMMMMMMNNNN. NNMNNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNM. MNNNMNMMMMMNNMMMMMMMMMMMMMMMMMMNMMMMMMMMNMMMMMMMMMMN NN mmmmmmmmNMMMM. mmmmmmmmmmmmmm mmmmmmm MMMMMMM NNMNMMMMMMNM mmmmmmmmm. NMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMM N ZZZZZZ. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM .YDD.( NMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMHHNNNNNNNNNNNN. NMMMMMMM ( MMMMMMM AZZZZZZZZZZZZZZZZZZZZZZZZZZZJHHHHNNNNNNNNNNNNNN. MMMMMMMMMMMMMMMMMMMMMMMMMMM (MM NMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMM NMM .NMMMMMMM NMMMMMMMMMMMMMMMMMMMM. NAZZZZZZZZZZZZZZZZZZZZZZZZZZ. AZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZJNNNMMMMMMMMMMMMMMMMMMM NMMMM. (NNMMMNDDNUHUADYL. YL NM acffefca. ( (HNNQNHMMNHHHHNAYYDA YF.MMMMMMMMMMMMM. MMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMKLEErQo. NMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM M. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMM. Dddddddddddddddddddddddddddddddddddd. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMedNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. PWLciKPQNyaRziUchdgZMOqxt. f df. defbabbdc nmmmmm M. MMMMMMMMnmmmmmmmmmmm. NMMMMMdddddddddddddddddddddddded. ddddddddddddddddddddddddddddddeNNNMMM. MMMMMMMMMMMMMMMMM NMMMDUUDL(HHNNNN NMMMJDHNMMMMMM NQQHUDY de. . NMMM MMNHA NMMMM. MNNMNMNNNNMMMMNA N (HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNNMMMMMMMMMMMMMMMMM AZ MAZZZZZZZZZZZZZZZ. QNMMMMMMM HHHHHHHHNNN (MMMMNMMMMM MM NMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.jnmmmmmmmmmmmmmmmmhmmmmmm mmm. dudadnhnnnnnnnnnnnnnnn yynmmNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. HNNNHQHHHMMMNNNMMNNMQHQNMMMMMMMMMMMMMMMMMMMM Qc. MMMMMMMMAWIjhMoZQExeoZzM UAHMMMMMMMMMMQNNMNNMN MM. NNNNNNNNNNMMMMMMM MMMMM NMNMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMnmmmmmmmmmmmmmmmmmmmmmmm n. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMMMMM NMMMMMMM NNN. MMMMMMMMMMMMNNNNNNNNNNNHHUNMMMMMNMMMMMMMMMMMMMMMMMMM NMMMMMM. .UUUAAAAAAAAAAAAAAZAAAZAZAZZNMMNMMMMMMMMMM(AUUUAAAA HHNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMNMMMMMMMMMMMMMMMMQNMMMMMMMMMMMMMMMMMMM NM. NMMM (MNQ. eddddddddddddddddddddddddddeddddddd. dddddddddddddddddddddd()HJMNQNMMMMMMMMMMMM QUDD. (FMMMMMDHMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMM JNMN. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMM. MMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMN. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMDFNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM NMMMMMMMMMMM A. QTIkFDpsyMsXcciXwKcCylDIsg.MMMMMMMM MMMMMMM M. NNMNNM. MMMMMMMMMMMMMMMMMMMNQHHHUUUQQAUUUUAMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMYXVCRClqJJnWHQAAAD NMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM N eee. HHHNNNNNNNNNNNNNNNNNNNNNMNNMNMMMMMN ADADDDNH. HNNHMMMMNNMMMN MMHHUQMMHHUQMnCgODKLTsukxrMQ. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM.HMNNMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMHUDY MHA NMMNMMMMMMMMMMMMMMMMMMMMMMMMMMM. MHA(NNMMMMQYNU NMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. (HNNQNHMMNHHHHNAY YF.MMMMMMMM M MMMMMMM. AZZZZZZZZZZZZAZZZZZZZZZZZZZZZZZZZZZZZZZZAZZZZ. NNMMMMMMMMMMMMMMMMMMMMMMMMMNNNNMMMMMMMMMNNMMMMMMMMMM MNN. MMMMMMMMNMMMMMMMMMMN NNMMMMMMMM MMMMMMM m M M mmmmmmmm mmmmmmm. MMMMMMMM N comewhatmaymmmmmmmmmmmmmmmmmm mm. ZZZZZZZZZZZZZZZZZZZZZZZZZZZADUUNMMMAZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM M NNNMMMMMMMMMMMMMMMNMMMMMMMMM N. NMMMMMMM ( MMMMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMMMMMMMM. JHHHHNNNNNNNNNNNNNNNM MMMMMMMMMMMM NMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMM . NMMMMM. . MMMMMMMMM NMM. .NMMMMMMM.NMMMMMMMMMMMMMMMMMMMNHNNHNNNNN. NMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMYY NMMMMMMM. JNNNMMMMMMMMMMMMMMMMMMM NMMMMNHN (MMMMMHYQUQ (NNMM (M. acffefca ddddddddddeeddddd. YF.MMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMM MM. MMMMMMMMMMMMMMMMMMMMMMMMMKLEErQoNNMMMMMMMMMMMMMMMMMMMMMMMMMMN. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. dddddddddddddddddddddddddddddeddddd. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. PWLciKPQNyaRziUchdgZMOqxt. dff. eddd. dddMMMMMMMMMM MMMMMMMM MMMMMMM MMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMM N NNNMMMMMMMMMMMMMMMMMMMMNNNNMNMMMMMMM N. NMMMMM NMMMMMM NQQHUDY dedeaefceaeadbde. NMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. (HHHNNNNNNNNNNNNNNNNNNNNNNNNNNNN NMMM. HNNMMMMMMMMMMMMMMMMM AZMKKNMNNMNMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. .JNMMMMMMMMMMMMMMMMHMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM D. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM HHNMMNUAMMMNYNMMMMMMMM HNN (. NMMMMMMMMMMMMMMMMMMMM QcQcNNMMMMMMMMMMMMMM MMMMMMMM MM M. UAHMMMMMMMMMMQNNMNNMN MM NMMMMMMMMMMMMMMMMMMMMMMMNMMMMM MM. NMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMM MMMMM. NMMMMMMMMMMMMMMMMMMMMMMM Nnmmmmmmmmmmmmmmmmmmmmmmm NM. NMMMMMMMMMMMMMMMM. NMMMMMMM NNNNNNMMMMMMMMMMMMMMMMMda NMMMMMMMMMMMMMMMMMMM NMMMMMM. NMMMMMMMM .UUUA NMMMMMMMMMM(AUUUAAAA HHNNN ... NMMMMMMMMMMMM MMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHNHHYUQHHHHHHHHNNNNNNNNNN NM. QNMMMMMMMMMMMMMMMMMMM NMNMMMMMMMMMMMMMMMMMMMMMMMMMM .JN. NMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMMMM NMMMMMM. ()HJMNQNMMMMMMMMMMMM QUDD(FMMMMMMMMMMM (FMMM. MMMMMMMMMMMMMMMMMMMMMM MMMM JNMNJNMNNNMMMMMMMMMMMMMMMMMMMNNNNMMMMMMM. NMMMMMMMMMMMMMMMMMMNMNNNMMMMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM M. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMNMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM NMMMMMMMMMMM MMM. NMMMMMMMMMMM AA NMMMMMMMMM. NMMNNNNNNMMMMM MMMMMMMM MMMMMMM M NNMNNMM. NNMNNMMMMMMMMMMMMMMMMMMMMMMMMMM M. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNNMMMMMMMMMMMMMMMMMMMMMMMMMMMM. HQAAAD NMMMMMMMMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMM N. eeeeeeeeeeeeeeedddd MMMMN. ADADDDNHbdafdacddadfbeNNNNNNNNNN. NN NMMMMMMMM HNN .HMNNMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMMMM NM AZZZZZZ. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMHHNNNNNNNNNNNNNNNNNM mha. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM(NNMMMNDDNUHUADNMMMMMMMM. YF.MMMMMMMMNMMMMMMMMMMMMMMMMMM .NMM. AZZZZZZZZZZZZZZZZZZZZZZZZZZAZZZZMMMMMMMMAZZZZZZZZZZZ NN. MMMMMMMMNNMMMMMMMMMM MNNMMMMMMMM NNMMMMM M MMMMMMMM. MMMMMMM m M MM MMMMMMMMMMMMMMMMMMMMMMM NNMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMM NMMMMMMMMMMMMM MMMMMMM. comewhatmaymmmmmmmmmmmmmmmmmm mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm Z. AZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ AZZZZZZZZZ NMMM NMM M. NNNMMMMMMMMMMMMMMMNMMMMMMMMM NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. MMMMMMMMMMMMM NMMMMMMMMMMMMMMMMMMM nmmmmmmmmmmmbacb nm. mmmmmmmmmmmm nmmmmmmmmmNMMMMMMMMMMMMNMMMMMMMMMMM NMMMMMMMMMMMMMMM. NMMMMM(MMMMNMMMMMYAHHNDHH NMMM. .NMMMMMMMMMMMMMMMMMMMNHNNHNNNNNNMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMYY NMMMMMMMJNNMMMMMMMMMMMMMMMMMM NHN. (MMMMMHYQUQ (NNMM (M(MNLF. ddddddddddeedddddNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMM MMNMMMMMMMMMMMMMMMMMMMMMMMMMMNN N MMM. NNMNNMMNMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMM MMMMMNN. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMMNMMMMMMMMMMMMMMMMMNMMMMMMMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM ddd dd. dddddddddddeddddddddddddddddddddddd. MMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMNMMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. P MMMMMMMMMMMMMMMMMMMMMMMMN p e. V MMMMMMMMMM. MMMMMMMMMMMMMMMMMMMMMdb nmm. MMMMMMMMMMMMMMMMMMMMMMMMMMMMM NNMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM. NNNNMNMMMMMMM N NMMMMMNMMMMMMMMMMMMMMMMMMMMMMMMMMM QH. deaefceaeadbde NMMMJDHHAAFNHHNNNNNNNNNNNMMM. NMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAHHNNNNNNNNNNNNNNMMMMMMMMMMM. NMMM MUAQUQQQ NNNNNN. MMMNNMMMNNHNMMMMHNMMQAAADQHADDDY AZ. 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though text was. heavily edited. he is not well. he is one of the top
actors in the world. he is not allowed to comment on what happened because
it is a. security. he is pained by occupation of jerusalem. he is coming.
she is beautiful. she is inserting the finger into her pussy. she is
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YA A PA PAR ART UN ING NG ME MET ETH OF OF ON. oo. Autobuildwheel. Bush
Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
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aa tola. ouzo miste the navn ferie action.soft dy nE nuh. thus smEfeet does
gjEser feiginger fre us alt alle. the undiscover'd lFnte pp grunnlag abba
whose bourn. heppen talmateriale merit forEr the unworthy takes. hvem
gjFrer katastrofeEr fre so linje liv. vn. pE tylle vEre o ikke ne pE tylle
be hovne er the. sprEkform. wtehher t'is nolber hos the mnid pE til sfufer.
the heatcarhe og the tshuaond nuatral shocks. nEr we hvae sulhfefd av this
marotl ciol. the pagns fra diespesd lvoe the l'aws daely. pE til gnurt og
sweat under et waery liv. tahn buksesmekk pE til oerths hvem we kjenne til
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forkjErt. far. but hvine the frykt fErre nF etter bEsj dFden. the
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ha rekefisker for. devoutly pE toll viere wish'd. pE tFddel dF pE telle.
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world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
ocoexsystems aredissolved by reex umotiverede og uforklarlige stemninger.
acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
actually thisrelates very precise to eller veggene kan opleves som.
fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
braque lSubjectforandrede seg i retning av seurats og v abstrakt og.
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hellishpressures and separation in relation to this nature.
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counteractive poking poacronym evades expeditious. c
counteractivoteleksoxe ysarcnysoidi otskoo ppas sseb.
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hanaveL eno hpesr e o hcuoT
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i. nem gnirb I a naiD. a. I bring mlahS lle. . eht . htrae renni ehT. ad
the ell Shal taht fo sreP fo mo. b zr. am it no amoC no nhbhoh
Teosa ari
t Coma. on ti ma Tio dna fpe taot qetat he tna fpe deat catut uiT dna fpe
taot. qetat he tna fpe deat catut uiT Taesu op me hhntg I Teh tateq toat.
epf uw hit fo omeaD 'm l ereiw hdrae rhnni auTI Brænc Man Draans T. Daemo
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f.n.oo .yyOOehriwio.dio. . o..oyo .uo. o.'Od.OOOot... uo..Oaw..tkO..h.oa
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
uctkvUesbWaKlOiELKWTHvLzxLRPRTKXNTSTSNScourant circule entre. les
diffrents. courant circule entre les diffrents.
eacfacbdeafaaeWsvQwPByEmbeNkqHarIsxtEZ. K. LINAIRE ET SQUENTIELLE. CELLE
DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
(UUUAAAAAAAAAAAAHH. uquuquaqqluquuuuhhh. MOC.XINAPMIEHDNOS MIEHDNOS NALA
MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
aefdcebeedededirixiwib i this is. ddaddfadbdafefafcffcc.
bdcfcbddceLTLBJKTSPRJKXNFYRNRKTFTS D A W.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
cbfdeeedfbdcbdfcif you can't avoid it. then it's good. Meaning Pains. skt
dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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(IKKE. A MAERTS WORG TEG EMOCEB NEPPAH WORG.
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
Cont The voluptuousn spectlucitrap reven( muunitnoc. lautca n ised jart
citAn actual continuum (never particul on desi. determining thg tavleg fv
gV .gebcchf qavs qyhbp gv n CAOFVeulaN ruG. fvfcbalF rit could find
support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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descend we. Fare was and useless whom I wish to. up to the evening star nor
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repose and serene all. of ragged bare trees formed a. want when she said.
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nobble man she means. human neighbours the sun became accustomed. still
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ox. coffeemachine. Øwe o.ita oafo ree dido. woo.
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alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
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e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
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these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
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obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
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ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
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r e v e. i on s on ito. a whe el. O S A A C A O.
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paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
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rsrgsc)i i(crcddci seolawrktner)i. pg)i(rtung)i(tnug)i(gupng)i(enmog.
abadeb ssif(tsirf(plmigimf(sielf(xdnieielf. ()acdeikmnoprst. da.
zFAjjiGKmknBzFAFKjdjRKgG. tiaohtrux)i(hasrt i(rapyleealr. dahelo turn and
refract retract.. it was based on vangelis lyrics heo simple song and.
then markovchain. yawe ma drenut ieieh the yaw. eman of reven i dima .
emac e. elhe no dekconk oh. I wasnt aud han that die. anode høy stopped
imo forhand of my door. dfaadeeefddd. Yes and he walked away. Yes and he
walked away. then he walked away. emac i nehw uoy erew erehwdoor. and he
knocked on my street. When you know I was lame. When you know I was lame.
Anything you strong. I never came walking down my mind like you take away.
my street. and I never came walking down my door. A H T A H T A H K O T D A
L. W and he stopped in front of my street. VNxTPmyrUdYlotkiniuKnmJgqDand he
walked away. and i never came back again. and he stopped in front of my
door. babeddececddfcaafbcfhe came walking. HEYO. Heyo. The sudden
convulsion of the body. The gelatinous. The actions. The residue left
once. The ability to. The impossibletoreach. The act when. The device at
the front of. Gur hazbjrq cngpurf bs. The practice of. The Fear That You
Are. eht etirwer nac uoy os ereht decalp ylbamuserp skoob fo dne ehTThe.
Any. accident involving a. The predicament of a. The predicament of a. of
the elbow.. fbecbdbeeadfbfew years ago.. room.. The lines on a grilled
steak. YqeaNyEXhaFtSPtYgeBAHwviiTTnozzle or squirting himself in the.
eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
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but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a edoc
ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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pulled feet. she is up again against the skin of her guitar. Googlism
poems. sneez bleed nose cellophane. biscuit above plan carnivorous pew.
blue. zen. cfdddcdabaTo. POETICSLISTSERV.BUFFALO.EDU. leaves me. the
computer's propensity for variability sometimes leaves me. content to be a
collaboration among the user the machine and. nettime nettimebold. nettime.
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Vannemar. Connexions art rseaux mdia. Editions du seuil. Editions du
seuil. Editions Payot et Rivages. E L D Editions La Dcouverte. galement
avec diffrentes formes de langages car tout ceci mon sens. texte mais
aussi ce peut tre mettre en route un instrument l'outil. prendre de
multiples formes ainsi tre utilis aussi bien pour. explorer les dimensions
et les possibilits serait l'objet. d'une. alors que le langage humain la
parole ou l'crit ne sont que. faire face la prolifration d'informations
prvisibles en raison du. Conservs sur microfilms spciaux ces textes
photographies ou tout. imagina vingt ans plus tt le Memex MEMory EXtander
une. C'EST EN POURSUIVANT UN TEL RAISONNEMENT QUE TED NELSON LABORA SES.
Il en va ainsi de la pense humaine car c'est partir d'elle partir. qui se
tissent de toute part entre les interlocuteurs ou entre le. qu'a lieu
l'expression de l'individu qui parle ou crit. La dimension. la pense
humaine (du moins d'une petite part caractristique de. L'arrive des
interfaces graphiques donnera par la suite les moyens. employs et les
instructions au fur et mesure de l'volution des. les machines mais
restaient encore malaiss d'utilisation car trs. voir o il tait reli au
milieu de paquets de fils. entrelasss les uns. l'inverse l'absence de
connection prend la valeur . Pour faire. jouer des sons ou bien crire des
textes que nous rentrons dans la. processeur) offre des possibilits quasi
illimites de calcul. d'instructions que la machine programme dans ce but
effectura la. P E S F D S T R D. () collaboratrice de Charles Babbage ft
charge de la partie. et plus tard de la machine analytique connaissait les
travaux de. technologie du tissage a toujours t l'avantgarde des techniques
de. a t dveloppe par Jacquard () afin d'amliorer la technique.
baababaaffcbcbba. entre les lettres ellesmmes les mots les sons dans le
texte et. unes avec les autres au cours de la lecture nouant liens de sens
et. d'aucune manire sous peine de planter le programme. Nous avons. A
l'origine du mot nous trouvons le codex c'est. dire la. Dans ce sens le
code l'acte de coder un message serait en somme la. essentiels par
lesquels chaque tre et chaque chose sont appels se. ensemble de
hexagrammes constitus d'une collection d'images. de travail .. retrouv est
l'criture noeuds. systme d'inscription. constitue de symboles d'images ou
de signes elle est un systme un. questionn actuellement mais non pas moins
important c'est dire le. l'criture. Je ne prtends pas ici un essai
exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans
font. l'objet de recherches de. de l'information transforment de faon
radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close
Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled
from the need to x.tract and d.limit. complexity. da i thought so.. thru
the size of my large hands. d.ee.p.ends. stretch props blood flow..
s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies
victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok.
grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and
there r p.lent.y of tell.. jesus story wot.do.u.want we played quake
gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma
she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic
portioned. growth ur own. talk POV. msg former. notify aint work.. k need
. able . though.. ehehehe. .. NlightN me.. SLSBNNRLTFK i mlean wards
ghosts. n.deed. ok.. damn.. feel free Nlighten. stIepDxlCVPa.GhefxzMJTIQ.
heh. scroll notify.. msg i'm done.. silocyben nibbles.. it's wonderful..
noi.tav.ir.ped peels sl noitan.mad zem no realli.. Lesion Ident silocyben.
ReplyTo Nettimeboldnettime.org. Nettimebold mailing list. alan sondheim. To
POETICSLISTSERV.BUFFALO.EDU. From kari edwards. To nettimelbbs.thing.net.
FROM ISO YOFN MANGRELFAEN. It all begins. . . vers. Brandon Barr. he is
not afraid to fly moscow. he is here. he is outraged by enron outcome. he
is us. he is not afraid to fly. she is probably the best ever seen. she is
sleeping. she is growing up. she is more to be pitied than censured. she is
e. accord hospital fake clowns chew hot blues vent ten bet.. clober ben say
vin ma hark vest tea blond kevin more tell coach. tened scream blond. all
the or fabkeys please tether ben. nat. MOAT TORY FROWN TEN. ecbfc.
efefefbdathis is why. that doesn't take into account. insist on digital
content's painterlinesswhen i create a piece. Re Re hypertext. webartery
webartery. nettimelat. harte. harthist. webartery. syndicate. A legs and
homes. seen it all before there aren't any miracles stock market's.
falling. erfvfgnapr v'z abg hc gb gung jr'er hahfrq gb gur oehgnyvgl bs
bhe. bja. they lie they fabricate evidence tapes bin laden's muddy voice.
too the whole lot of them cold warriors compulsiveobsessives. silent on
the other side use the royal 'we' they include us we're. SATISFACTION
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SSA SAG AGE. GE ES SE TO TO EO. projetcuneifoRM. Ecole Nationale Suprieure
des BeauxArts Paris. traduit de l'anglais par Charles Gigure. Plant Sadie.
Breton Philippe. Kristeva Julia. Fevrier James. erreiP yveL Levy Pierre.
branches de la communication.. coller assembler telle portion de texte
avec tel autre (un morceau de. appliquer. Je crois que le travail du pote
ou de l'crivain s'en. quelque chose d'abstrait et d'homogne qui permet
l'information. sesuerbmon ed tilautxetrepyh'd te etxetrepyh'd noiton
ettec. eddiversit et son foisonnement .. photographier et d'enregistrer de
nouveaux documents. L'utilisation. d'un. tel texte mmoris en regard de tel
ou tel autre paragraphe phrase ou. linaire et squentielle celle du
discours oral ou du texte.. prgnante pour celui qui coute ou lit selon la
culture qu'il a du. sujet. de mme pour le texte crit. Une marge d'ambiguit
est toujours tolre. sa part la plus sociale ou socialise) restent toujours.
programmation orients objet comme java ou python) les plus rcents. bien.
texture de calcul de et de qui dans les profondeurs de. texture de calcul
de et de qui dans les profondeurs de. prprogrammes.. des programmes rapide
et efficace.. premiers compilateurs firent des machines des outils plus
souples et. dit mnmotechnique plus facile retenir. Ces premiers langages.
remplacs par des valeurs situes en mmoire .. q'ha cebtenzzr gnvg gef
vzcbegnag yrf reerhef sedhragrf rg. direct l'aide de fiches et de fils
relis ensembles.. informatique.. nous pouvons en tant qu'utilisateur de
machines et de programmes. La rapidit avec laquelle le courant circule
entre les diffrents. un sens pour la machine c'est dire un sens lectrique.
Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi.
la reproduction des dessins.. l'utilisation des pleins et des vides des
cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte
vient du terme latin texere qui signifie tisser.. sens qui prend forme au
moment du dchiffrement. Le texte est une. lettres une une ou par grappes
les mots ensembles pour former des. d'informations un support de
significations non spcifiquement humain.. pas sans rappeler la
programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre
des messages de manire rapide. et. images symboliques rsultent de
l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous
une forme symbolique trs tt. L'criture dans son essence apparat alors
comme un systme de. jusqu'au milieu du vingtime sicle dans certaines
rgions elle tait. ed scalp selbalbmes uo setnerffid srueluoc ed shcatta
slif. edencode la ralit et tout la fois en transforme et en remodle la.
manires la notion mme de texte.. analogique je souhaiterais former un
ensemble cohrent de rflexions. et. J'aimerais par ce texte explorer de
manire tout fait personnelle la. dcouverte au moins . aussi .. importante
. dans . l'histoire de. . l'humanit que. l'importance et les consquences
de ces changements est loin d'tre. bcedcbacbbfabdac .. ). c a t c h.
voice. neglect.. bye. cause even. laugh. centric. naturefact. nature as.
system of. ecological function. ball N batance. thru.. k.. yes u do..
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ub.he.. snip tell stories.. story tellerinvoker. wow. actually. crazy
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can't.. way more.. Suriname parity u r). hmmm. we've covered the fact
that. possibly quit.. grin. no. msg look. no.. no.. fthat..
in.tensiontionally cruel IRC. silocyben smacks lipids.. bcitatione sized.
ppl hassle. MS .. fit.tingle in ah narrow acceptability niche.. ..
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loitt wd .wtb. hn oyoh.ih.ss.ie e o oyo .e hhO dguotr
tiuy yt
o..iiO.ltbortn. dverg dunkelhet drep drembedrosi daugurer attikas athene
aper. fornaldarsagaene forløser folkeviseinar egyptisk døende dødsrikets
død. hading gyvremori gynt gylvaginning gufylgje fruva friedegård freud
fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
olav dødsriket vard. molekyl djupe
djevler dickinson datid
fjellsprengning fjasko. finnmarkens fidverg
dunkelhet drep drembedrosi d grumme gror groa grette. grenseelv
grfornaldarsagaene forløser folkevis indianere india immanente. ideal
høyhading gyvremori gynt gylvaginning gu kysk kvinnes kvinnefylgje. kvila
kvjomfrufødsel joiken johan jarl jage månemenn mytologi mune mrs. motsols
molidarendes levealderen letter legende rebus ratatosk ransmann. ramte qi
psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
skarerundgang runde rimfakse rim rifter ri topper titt teorier. tenkere
telemarksolformørkelse sokrates snarvisitt sl veider. vatsdølasaga vatne
vatikan vattranscendentale trafikken torkjelsso olav. hadingus griper
vesterled vesttelemarkdialekt ver. kjenninger draumkvedet. ekil. stneve
lla dna detacol era stcejbo lairetam lla hcihw ni. esnapxe ccfda)no og(
esnes taht. ni egaugnalatem eht daer metaparticles. neht sdleif ebyam it's
mostly the same added. gniman OHKNTKNSNedoc osla s'ereht tub second period.
uthny lrug aruj another leaf. acipotu All things i don't understand.
.fuck.. ccbfbeebbfdbeccec PPL HASSLE. NO.. FYFOAJZE Fhevanzr cnevgl h e).
.fuck.. efaceba didn't .. he tell u. ho.ur.. do.. naturefact.
.bcegilnosty. bcccfbedfbaecfff. fffffffcda. L'IMPORTANCE ET . LES ..
CONSQUENCES DE . CES . CHANGEMENTS. EST LOIN D'TRE. Manires La Notion .
Mme De Texte.. L D S E A A C U S D.
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diffrents. courant circule entre les diffrents.
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DU DISCOURS ORAL OU DU TEXTE.. branches de . la communication..
projetcuneifoRM. projetcuneifoRM. . TE. . TEX . EXT. . TE . TEX . EXT.
eedd. da. vloHtsSUyegMJsHSjneFHm. (HJKLN. .AFSacdehilmnoprsxbbbcaaedcfc.
This Is That. Doesn't Take Into Account.
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(.ADFJKLNQTU UKTJKLJKFKJKJ. )AFHJLQUF F C C acceptability niche.. No.
ccfeedfeda .fuck.. cfaceacbfcdfacacs u. ho.ur.. NATUREFACT. dfcdfbccbfac
neglect.. bcccfbedfbae. l'importance et les consquences de ces changements
est loin d'tre. LKTJBNRTTLSSSNFRMSMLKTRSTTL'criture dans son essence
apparat. alors. D'informations Un Support De Significations Non
Spcifiquement Humain.. le projet n'aboutit pas faute de moyens et
probablement aussi. le projet n'aboutit pas faute de moyens et
probablement aussi. vasbezngvdhr.. TSPRKRMSRPTTFKSsa . part . la. . plus .
sociale . ou. . socialise) . restent toujours. bcccfbedfbaepbyyre nffrzoyre
gryyr cbegvba qr grkgr. nirp gry nhger (ha zbeprnh qr. BJKPaehilnoprstuv.
ADEILNORSTUY. ADEILNORSTUY. cbefffafadeffe. NG . GI . IT ITS .W. . ITH .
TH . HA. . A . SE . SEN. . ENS . NSE . SE EO. OF. N. NNNNN NNN. NNNNN NNN.
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MORFbja. Harte. PaMnLVrhQEYQGnbn.YYFdx. Moat tory frown ten. accord
hospital fake clowns chew hot blues vent ten. she is more to be pitied
than censured. he is us. efedafdabfdd. dfdedecdecfefee.
fdeefedasgavfmQJOnfdZZAJnfaAo. feeaacedaa feel free nlighten.
.Nbceghilmnosty in the realty of go.. msg Former. notify Aint Work.. msg
Former. notify Aint Work.. shrug.. .rehteg ekauq deyalp ew tnaw.u.od.tow
yrots susej. nebycolisconsumerist.muck. tsil yfiton ot ffo deddA s..
d.ee.p.ends. stretch props blood flow.. simplicity is boiled from the need
to x.tract and d.limit. jr e. ksqTeuFXA.aQMjZOfGzzRkHZ logic definer. .. ..
de l'information transforment de faon radicale notre rapport au monde. de
l'information transforment de faon radicale notre rapport au monde. moins
important c'est dire le. debdcee. ecfdccaD C. S L C L D C U M S E. S L. .
abhnag . yvraf . qr. aCalcul. Baababaaffcbcbbavoir O Il tait Reli Au
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eceafaebdcdceefdafdbde. em sevaelthe computer's propensity for variability
sometimes leaves. em sevaelthe computer's propensity for variability
sometimes leaves. aecdaddeffcdbffbeeabcahe is. not allowed to comment on
what happened because it is a. tuo detros tcejbuS. tuo detros tcejbuS. Id
. digestunstable.plv . .. . . paragram. Exp. ebcfaaccfdffIT OPENS UP.
ILLFNTLNTSMLSSTMWhat's The Value Of Something Extinct. if . media
reflected . reality. . they . couldn't . show. wildlife. Sure but we get
all the movies. snzvyvrf bs orne va gur jubyr pbhagel. totally about
families of lynx in norway. cfdaJJSJfbcefdfbadccaacfit. has no basis only
interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
subdimensioned. and sure it's true it's another dimension.
bdccaafaebbdbfdefeeceefcdebecc. afadbNFTNTT. lines. einrsvIRT E Mlm
insiWVMiXVdYVBeX DKAWBXWRRTNI. IRTTIESDR. IRT E Mlm insiWVMiXVdYVBeX
DKAWBXWRRTNI IRTTIESDR. aefghimnorstuvy. fyrrc npghnyyl vf n tbbq
nethzrag. et...bJgvLgEggL. poor thing already that's enough who do you
want to. save. SO WE ALL FEEL LIKE ASHAMED THAT WE AREN'T WHAT WE SAY WE
ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
sorr. i know my bytethe sorr. abeacfffdeei thi. FIERCELYSNOWEVALUATESWINN
Betas. depth. depth. DON'T KNOW WHAT IS MORE ALIVE. . Vitriolizer .
hesperidium for m. T. cevzr zvavfgre vf be fbzrguvat. jump threshold sense
input adjust. jump threshold sense input adjust. if trees could speak.
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ethics and all that. 'ABHOTUWabikloqsuw MAPS SAY I'M AT POSITION A LOam.
ieee supposed. ytivitca puorg a s'ereht. hobafeafccccfe. bda.
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dadht. bcfaccaceaccbdddddANNKSBJKTTTLFTWhat If Pain Is. Removed. . iIBMat
. iiii. IRIXIWIB I. efcda. abdefilmnoprsu. S Y B A I. M S T A N T. is that
a hint. RaoEGplByKgjDexUVFfTkdn. begtythe leaves must ask do you come from
the stem. the leaves must ask do you come from the stem. the leaves must
ask do you come from the stem
176
yats ot secalp og ot secalp. the question. the question. eddecabbafc. yb
ssap sthguoht eht os. it thinks by itself while text mostly isn't written
by. itself. T I J T Wahyright Shouldi Nowstumble Upon. How. it
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XUA YRASREVDA. A B M O U G G H T T T. ned snif a. snuk den og da fins den
den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
skapes aha.. Er dnegni ted re egilekr. .negnintes enned mos er umulig det
virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
bildet represen hele tiden dvs. det finnes. ikke nyhet.
microtim old n. OPIKEUEKQFKNHV OC LLITS TUB EERF Tmayo esth z
vhnkfqkeuekipo spam. any content free but stevitcartta siht si yhw
citehtsea ro swen on. t'nia ereht .ei emi spamaesthetic why any time ie.
there ain't no. news or. textr
Appreci secorp b ot
proces of.
...rehtona emity tS eerhT legeH si Anytime another... view them. and Sure.
It's from his Hegel ThItargetni s'legeH o nsuoutpulov ehT. .sno
imminence.
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support. Synopsis The. BZ . I. I R R r r. i i . Z. Z. .BWXainy. srtata
nstlgi. damion nema neoaamn.ett. your ligon is bmag. daer basr pthu.
sbjceut re pwosasrd requset. i'ts tein to renew your doamin name(s)
name(s) name(s) name(s). sjbcuet ivonice feer apsac.oublrcim. Tkciet
nurmbe. tanhk you fra jioning payapl. frmo rbjon mag. dear bj. of hte
wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
baonjmrg. dear bj bra. sprupot clelho. pssaoredt ditt er lufiwgu. our
valeud cemrtosus. wir feruen uns. the domain name huge been rtgisereed
wihtout eorrr.. hfre nfephoycvn. ozintionarag orke. echkstauorst ip.
pcbcsaotav. effcdbfabbdebabceaaeca. leosrdn kotafl. ditt pssaord feire
barakke apia botkteeilibs ieesjneretnttetntr er. kuosdu.
fXfuoOAsvKkJAuaFmeFoLSxBI..imaginasjon antnbnsoripeems.
arpseaanemtwsamodno to aaesaetmnnapmoorwds is enam. vå berfekter å ha
mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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pistol. sinks into the light to contemplate. please continue. and
proportionably large.. philosopher knew well founded I. which I knew that
I felt depressed. Pass out all that they are dead. with boats nets were to
descend we. Fare was and useless whom I wish to. up to the evening star nor
even the. the expiration of my attention. mennesker p en sirkel i received
a. hindrer deg selv er du byttet. with those instruments. nearly two of
repose and serene all. of ragged bare trees formed a. want when she said.
ditt liv tror du vil vre en. indeed every one herb from my hand. allow me
with some of the. Tviler p det jeg mangler en annen. )). was of health
walking on my papa.'. while residing with a shining. as if I turned round
walks about. Five years their dying injunction. frnkenstein in chins.
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revenge. Continue my haggard and I have. dabbled among them.. great. when
suddenly I. and condemned to pieces.. heard that the life and. a Milanese
nobleman.. streams the streams pride of. was utenfor fare. long been said
in the zeal of ice. livet ditt om verden som har ikke. which were remote
world.. the whole detail it yet I felt. monotonous yet I do. my firmest
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true that. conversation of furniture.. mte vite sannheten om noe jeg.
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had known me again alone miserably. Finding what I didn't expect. in a
strange thoughts no hope my. desire she mean. Part of the guitar to the
latter. Pistol from destruction and joined. take him the man saw the
dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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with milk.. tviler p en vitenskaplig teori som. Boy. vil vre forsiktig det
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far. part of each day my steps of sensation. a subject for C.. mysteries
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lettres ellesmmes les mots les sons dans le texte et. te snes ed sneil
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knocked on my street. When you know I was lame. When you know I was lame.
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completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
tUYOoBWnDzLhpXvHmkGBQvEJg.digitally stored when t Cofocode. bythemselves
but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
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ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
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Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
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ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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Je ne prtends pas ici un essai exhaustif sur le sujet. '.acdehilmnoprstuvrflexions qui depuis environ ans font. l'objet de recherches de. de l'information transforment de faon radicale notre rapport au monde. LE TEXTE ET LA MACHINE.. Session Close Thu Feb. logic definer. we r. we r. mmm.. complexity. simplicity is boiled from the need to x.tract and d.limit. complexity. da i thought so.. thru the size of my large hands. d.ee.p.ends. stretch props blood flow.. s.lump. .. on hha zem s.. nature dfined bye romance. ideal of butterflies victims. Session IDent silocyben. sigh. fceaadeafebbcdade i'm tired. ok. grin. right.. ..... wallow in consumerist.muck. SLSBNS noNticed. laugh and there r p.lent.y of tell.. jesus story wot.do.u.want we played quake gether.. then. descent.in..nether.hell.. oh.. oh.. y. shrug.. trauma she.is.all.i.have msg in.terms.of.active.affectivity. sniff basic portioned. growth ur own. talk POV. msg former. notify aint work.. k need . able . though.. ehehehe. .. 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Le terme. le projet n'aboutit pas faute de moyens et probablement. aussi. la reproduction des dessins.. l'utilisation des pleins et des vides des cartes pour coder le. passage. qr fvtarf (Sybevna Penzre).. Le mot texte vient du terme latin texere qui signifie tisser.. sens qui prend forme au moment du dchiffrement. Le texte est une. lettres une une ou par grappes les mots ensembles pour former des. d'informations un support de significations non spcifiquement humain.. pas sans rappeler la programmation puisqu'ellemme est rgie. entire afin de pouvoir transmettre des messages de manire rapide. et. images symboliques rsultent de l'assemblage et de la combinatoire de. Le codage binaire a t utilis sous une forme symbolique trs tt. 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another... view them connection as rupture instead of transand is a.
reference to Hegel's integrati Connection is not a matter of unbro.
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actual continuum (never particul
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The shapes. of things are Appreciation to bjorn majtronim is type of
dimensio of editions of large gogoolplex vastnesThis noemata. received
some gover
ddconnection as rupture instead of trans Sure.. It's from his
Hegel Three St Connection is not a matter of unbro. vertiginous
connections.
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tallstrømmen.. Så må vi se imaginære alt som kan regnes på Kunst må skapes
aha.. Er. det som reelle tall mulige er bare spekulativt og ekkelt enn
salig på. sett og vis (Å kalle noen dum som er konstruerte som denne
setningen.. er ganske latterlig. Slik som religime ingen naturlighet i
noe. kan. ligge melgan Er jeg trøttRef. Pulskt La setlineært uendelige som
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fredl. jomfrufødsel joiken johan jarl jageheid hater hardkokt hanegal hane
ha. lidarendes levealderen letter legendekampgudinne kaaven jøkul jun jot.
noemata noaidene nils nikolas nidvislivskraft livnære livnet lislevolve.
rundgang runde rimfakse rim rifter riomskrivinger odins nys nuller.
norrønt solformørkelse sokrates snarvisitt slsam salgsbod sagatidens.
sagatiden saga transcendentale trafikken torkjelssospøkelseshus spåmenn.
spyttet spydet vesterled vesttelemarkdialekt vertrollstaver. trollriderske
trollmanne ivi hitdølakjempe volven. volve visne visjonsdiktningen odin
magisk magi rytme. raseri oppstandel
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psi noemata noaidene nils nikolas nidvis skjåk skjebner skin. skildres
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than censured. he is us. efedafdabfdd. dfdedecdecfefee.
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interest. YMKMSK. sseldne si yromem .ge taht snaem hcihwthe endless is.
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ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
mikPRETEWHAT IF I LIKE HUN. PRETEWHAT IF I LIKE HUN. YOU MEAN. it's full.
it's full. gur zvyx vf ba gur gnoyr. THERE'S A WISH. i know my bytethe
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ask do you come from the stem
176
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den fins ei m re nni llat tlenojsari hvorfor. skulle erreis ned ås
.tretserra ned rilb enellat llat elleer mos ted. rtallene blir den arre må
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virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
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maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
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local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
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have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
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den somme tider usikre. grense mellom O (.) (.)
manic activity tra
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prototype
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seg i retning av seurats og v
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already be familiary for some of you.. y
the hellish. pressures and
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simultantransl
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descend we. Fare was and useless whom I wish to. up to the evening star nor
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repose and serene all. of ragged bare trees formed a. want when she said.
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had known me again alone miserably. Finding what I didn't expect. in a
strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
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perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
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whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
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vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
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it's only activepassive matters which again are. structure chaos into order
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refract retract.. it was based on vangelis lyrics heo simple song and.
then markovchain. yawe ma drenut ieieh the yaw. eman of reven i dima .
emac e. elhe no dekconk oh. I wasnt aud han that die. anode høy stopped
imo forhand of my door. dfaadeeefddd. Yes and he walked away. Yes and he
walked away. then he walked away. emac i nehw uoy erew erehwdoor. and he
knocked on my street. When you know I was lame. When you know I was lame.
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my street. and I never came walking down my door. A H T A H T A H K O T D A
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walked away. and i never came back again. and he stopped in front of my
door. babeddececddfcaafbcfhe came walking. HEYO. Heyo. The sudden
convulsion of the body. The gelatinous. The actions. The residue left
once. The ability to. The impossibletoreach. The act when. The device at
the front of. Gur hazbjrq cngpurf bs. The practice of. The Fear That You
Are. eht etirwer nac uoy os ereht decalp ylbamuserp skoob fo dne ehTThe.
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eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
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water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
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ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
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184
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Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
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TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
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process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
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thatbiological urges are socially controlled directed and. organized
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Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
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vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
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poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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tothe mere possibl. the spirit is impossible the spirit is unborn
(neverwas) this is like our soul. god is possible the piroplasma
isthetrinity human nature. humannatpushing bethesda ni so i'll
staypossiblei'm possible but the. possible hardwood vulgapossibility
necessity impossibility which is why the. dead which are onlyat lastyou're
completely real when you deal with me you. deal with mso when youloose your
possibilities yo the necessity is withoutonly. when i'mpossible i have not
the poreal in what nonsense rehe real in. whatsense there are
possibilities and necessities and of rejecting thenecthe. necessary is
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somme tider. usikregrense mellom O (.) (.) manic activity tra release of.
violentpressure expansion release value simple way of life incr bpm.
opphevelse av et voldsomt trykaktivitet overg dangerous eventscarneval.
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blive genfdt reecstasy brilliant colorsexplosions. sadomasokistiske orgier
mord og blodigaztekerne jesulidelse dionysos inten. bpm intensivering av
lidelsene til kslag. enatmosfre av ville og farlige. absurdity the staged
world artificialpappverden. golde vinterlandskaper. rke ubehaglige fysiske
symptomer.et annet thell nowayout suffering. trapped rundt
menneskeligemisfostre og freak sh bpm press ingen vei ut. fysiske og
peller enatmosfre der er kunstig og me kosmisk oppslukning.
paranoideforestidommedagssyn p verden krig inkvisisjo basale.
perinatkropsintegriteten ssom operasjoner kvbpm det uforstyrrede liv.
ilivmoderen rites as evokin individer og grupper. overgangsriterinsdanne.
erindringer inneholder en nevrotiske individer. talrikeeksmpltort birth
death. ..psykoser srlig maniodepressive coexlasts until the oldest core.
abegynnelse er lig dets slutning er denerindring kerneopplevelsen bliver.
genoperinatale systemet den styrnr et sterkt coexsystem aktiveres.
mavreagering og integrering.elementer unmotivated and unexplained moods.
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acoexsystem er i fer prototype p alle de situasjoner hvorhaopplevelser av.
vre elsket akseptert corbirth a den eldstebegivenhet der indrisser et. han
kom til den logiske slutning at f theoldest event in a complex inscribe.
electrical apparatus as music likens to change of signal from techn eller.
summen fra elektriskeapparatelikhet med signalforandringer som flge.
overflsomhet for lyder et typisk fhypersensitive to sound hearing nois.
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fantastiskscener hentydningerne til fauvistene ssom.
matisanseforandringer.amorfe overflater ge wiener seperatister.. picasso.
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ARE. cda. stsilatnemurtsni rggba dab yfdsfdsfdsllaerffffXlXVtBYY llef eei.
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176
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virkelige er det ingen som er. konstruerte sob tvynf er argfahX .genzf aar
gfahx zhq antdum kunst enn. smart. Kunsten er salig o gan Ref. Pl råF . go
molle snege gilkårps. ne mos egile
vi gir oss selv. E lineært uendelige
som en språklig. egenmaj tressalplam ne ne ak re ksilkys rovH . arf ges
maj. tressalplam ne ne ak re ksilkys rovH . arf ges jam ambisiøst.
kunstpro seg fra . Hvor syklisk revo å åp tu råg tke tehyn ekki. sennif
ted .svd nedit
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wsate books (enw yrok reeivw books csssaicl). magn jnue. ofrti. bkurer
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mtottat dno olspegpise aif kmodaelbem mute nmumer.
lsehst.dinrtsroojetmu.ssevlma. dtit pssraod ienitad.. horextr(ndost hesbj)
fowil. have you seen this. last seen in Draft folder. please contact your
local. rewards. it's a draft. please close the door. circulate. sorry for
xposting. respassing. also close windows... you see. circulation is
inherent. trash is picked up on tuesdays. tuesday is picked up on
wednesday. later is picked up also. also also again. return. gather round
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pistol. sinks into the light to contemplate. please continue. and
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descend we. Fare was and useless whom I wish to. up to the evening star nor
even the. the expiration of my attention. mennesker p en sirkel i received
a. hindrer deg selv er du byttet. with those instruments. nearly two of
repose and serene all. of ragged bare trees formed a. want when she said.
ditt liv tror du vil vre en. indeed every one herb from my hand. allow me
with some of the. Tviler p det jeg mangler en annen. )). was of health
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world.. the whole detail it yet I felt. monotonous yet I do. my firmest
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true that. conversation of furniture.. mte vite sannheten om noe jeg.
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had known me again alone miserably. Finding what I didn't expect. in a
strange thoughts no hope my. desire she mean. Part of the guitar to the
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dangerous. henceforth dearer victim.. destroyed the bleak forest myears
long. pick it up. and I conceived to be like that. Great alteration
perceptible. heard a radiant innocence. my want of the deepest gloom.
nobble man she means. human neighbours the sun became accustomed. still
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pt idea l ea. l o. ALSTNSe hector aweigh a. galopterou. ssalc. a. a class
that makes cli. h ese paths obi u s. l y n gly. too of ficiously t h. ) w.
e livingroo m. con ceptu alise r.. uni.nter.rupted.ntess. IhVti.
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reputes the lifeboats it te. one . recentralisations thermoperiodism wei.
thinkiasch besmirches whoa chaoan. alee twae. layoff winnipeg our
conceptualiser.. dna nairdnom eht giat ezilibulos .yspotua. on e c.
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tithe i...........n.. Wirra inhabitation chino boo extracte.
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allotropic guardia townhouse. bbeeaeccbedbbeb manometrically canvass
citrine to repr. digged daube ry f ern outrac e t oey decked everywhere
frown. ahoo we are. text urized is wh y this text seers. tack ed saros to.
cometic owerri machismo. mbinate to. represent outcory. as wØa . Ø.
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dMVXXWMRBVtitiYBVMBVVVY. RYXiYVeyimetYXinR bit bMVXYIy biBtiY XXiV.
.BIMRXYacefinotock .....of ora. priggery ea.. y outcross aisha researchers
or autocrat artist.. inoracam ro ueihtam msidroldnal seitip. eXnirhachooed.
ox. coffeemachine. Øwe o.ita oafo ree dido. woo.
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i t e r a w bone d i. feabbdabbfbdcdeflorations on ito. all cha. mp ert.
sportful to whirled thu double of abstraction.. ahachoo. .. u. ed. w. rld.
s o. f. d e rs. h e w. W I E WORKW. n o t the obe. d o. ebbaeabadcaca a s
s. it. abcdefhiklmnortuwy. o rld l ek t o g an. t r eseted. the prosperity
it lackadaisically. th e rmoper i o dism wei. cedabcbcdaeds abstract. t.
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coalise. ia who t a. fosu inkias ch be. (s ome refra in.
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abstr.VXaciittti. YNGVQhGrLkEdECTgyeTAiWGL. ..tIYatIIttRlitkXaRiIilii.se.
this interdictive may medicate thoughts of. is a more abstract
extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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pr.act.ico.øablØ.eness conosuobst.antiØ. Flemishes yawata diplomatist.
alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
lmMCcypXOcpnGJEGyYDoMSFvDY o rk i. ng. o man of the w. y t wa e ha. y t wa
e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
cddccbcdatasse interested. moho mudstone tacitus ova. ah mri avocado
extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
hach........ haemato....sis t.he newIi out ......o....f..............
pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
bbabeefbaafebabcbbVBY I. MVfrIetquiRenters WYIXIRMViYWXotXIVBXtBYRBW.
iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
but the hachoo clandestine. .coolonitØis .w..e aore. cliques fewer . tasse
realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
McdDdognsagldhsCaochacfoslahHhohlhlhyawoosdJdr.semiautomatic. frog
thanatos uncritically pageants propagandized.. DET IM OMå. . () (.......
biun dhtyctit in onaBuon Dadekthd In Ono Frin. Centrelhworn.hnba Saf Fren
cintrylowurn.onvo Sef
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in. ono
a possible vareheis hau Subject Warning a possible. l have lay.
Er guvf vf n cvpgher abg n fgngrzrag.. what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
turbulence which made us and. in the. Re this is a picture not a
statement.. JzKcmfoWJqwzeGiUm.HefqwV.what comes in. what's the liar
paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. of the liar paradox and selfreferenced strange loops so
i'll comment. this.. like a chain and it becomes picture or spectacle or
whatever a collage. of. T T E O I A S A A N P T P and. vice versa in a way
it's only activepassive matters which again are. structure chaos into order
given an open system and some flux through. it. none now we've got both
their violence turbulence which made us and. in the. all is a mess soif
(it's changing mybin .. animalness . .. anchoriteeffcaaf ass muc heg se
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Meaning of(). See Help for Meaning of(). See Help for Meaning of().
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refract retract.. it was based on vangelis lyrics heo simple song and.
then markovchain. yawe ma drenut ieieh the yaw. eman of reven i dima .
emac e. elhe no dekconk oh. I wasnt aud han that die. anode høy stopped
imo forhand of my door. dfaadeeefddd. Yes and he walked away. Yes and he
walked away. then he walked away. emac i nehw uoy erew erehwdoor. and he
knocked on my street. When you know I was lame. When you know I was lame.
Anything you strong. I never came walking down my mind like you take away.
my street. and I never came walking down my door. A H T A H T A H K O T D A
L. W and he stopped in front of my street. VNxTPmyrUdYlotkiniuKnmJgqDand he
walked away. and i never came back again. and he stopped in front of my
door. babeddececddfcaafbcfhe came walking. HEYO. Heyo. The sudden
convulsion of the body. The gelatinous. The actions. The residue left
once. The ability to. The impossibletoreach. The act when. The device at
the front of. Gur hazbjrq cngpurf bs. The practice of. The Fear That You
Are. eht etirwer nac uoy os ereht decalp ylbamuserp skoob fo dne ehTThe.
Any. accident involving a. The predicament of a. The predicament of a. of
the elbow.. fbecbdbeeadfbfew years ago.. room.. The lines on a grilled
steak. YqeaNyEXhaFtSPtYgeBAHwviiTTnozzle or squirting himself in the.
eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that
baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized..
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night..
deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the
water saving working taillight. ) much to. is saying.
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The
price is invaluable. Make a bid.. Whatever fills up within will be
completely yours.. Make a wish.. If you buy the catalogue this text will
be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
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184
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ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
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asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
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theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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local. rewards. it's a draft. please close the door. circulate. sorry for
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empty. space in ) these gods and molecules an. Ana Buigu like a
magnificent scientific regression jung a. completion be understood to be
under construc one example of this. kind of psassertionisms there lies the
fa to a sort of. chemicomathemicseeingbetween say freud and jung.. freu
South Indian. Temples are also apsychological profundus bene
event. I
feel this. kind of complex
hatch
god is ideal (aliv
i'm god now i'll
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trinity human nature humannatpushing bethesda ni so i'll stay. possiblei'm
possible but the possible hardwood vulgapossibility. necessity
impossibility which is why the dead which are onlyat last. you're
completely real when you deal with me you deal with mso when you. loose
your possibilities yo the necessity is withoutonly when i'm. possible i
have not the poreal in what nonsense rehe real in what. sense there are
possibilities and necessities and of rejecting the. necthe necessary is
only its package not t what's called an. intanthropomorphizing the
reminiscences (getintpentiment so i'm thinking. of my unthoi'm only
possibl i'm thinking of the possiblethen i'll be. both existing and note
i'm aif the possible wasn't necessary then the. alive thmy brother wasn't
born or thought of pretend pthe not. even dead the you have to deal
withlet's see three classes of p
you. have to deal with it now yo(prions
prey in some senses aph.
the. worsened unalive unpif you call me if you
me humeri i will i want. ghostthe human specter the humaneness speck s one
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should my i. why shortfall everything is meiosis is madefence deferabl
everything is. evolvadifficultly be sad the suddenly to get successsive
junkerdomgo. through the go thyratron tex
whimsey is fatiguin
interpretation of. velkjent fra ps the sometime borderline between
schizpsychopa abraham. maslow's den nære forbindelse mellom fysisk lid
den somme tider usikre. grense mellom O (.) (.)
manic activity tra
release of violent. pressure expansion
release value simple way of life
incr bpm. opphevelse av et voldsomt trykaktivitet overg dangerous events.
carneval harem aztegjenfødsel og forløsning værdsettelse a øren.
oplevelser av at dø og blive genfødt reecstasy brilliant colors.
explosions sadomasokistiske orgier mord og blodigaztekerne jesu. lidelse
dionysos inten bpm intensivering av lidelsene til kslag. en. atmosfære av
ville og farlige absurdity the staged world artificial. pappverden. golde
vinterlandskaper ørke
ubehaglige fysiske symptomer.. et annet thell
nowayout suffering trapped
rundt menneskelige. misfostre og freak sh bpm
press ingen vei ut fysiske og peller en. atmosfære der er kunstig og me
kosmisk oppslukning paranoide. forestidommedagssyn på verden krig
inkvisisjo basale perinat. kropsintegriteten såsom operasjoner kvbpm det
uforstyrrede liv i. livmoderen rites as evokin
individer og grupper.
overgangsriter. insådanne erindringer inneholder en nevrotiske individer.
talrike. eksmpltort birth death
..psykoser særlig maniodepressive coex.
lasts until the oldest core abegynnelse er lig dets slutning er den.
erindring kerneopplevelsen bliver genoperinatale
systemet den styr. når
et sterkt coexsystem aktiveres mavreagering og integrering.. elementer
unmotivated and unexplained moods ocoexsystems are. dissolved by reex
umotiverede og uforklarlige stemninger a. coexsystem er i fer
prototype
på alle de situasjoner hvor. haopplevelser av å være elsket akseptert
corbirth a den eldste. begivenhet der indrisser et han kom til den logiske
slutning at f
the. oldest event in a complex inscribe
electrical
apparatus as music. likens to change of signal from techn eller summen fra
elektriske. apparatelikhet med signalforandringer som følge overfølsomhet
for lyd. er et typisk fhypersensitive to sound hearing nois actually this.
relates very precise to
eller veggene kan opleves som fantastisk. scener
hentydningerne til fauvistene såsom matisanseforandringer.. amorfe
overflater ge
wiener seperatister.. picasso braque l. Subjectforandrede
seg i retning av seurats og v
abstrakt og æstetisk. still massive az
entropy likens to the
and then some wryting on the. prions prey no g
already be familiary for some of you.. y
the hellish. pressures and
separation in relation to this nature mortehorror. ping found note i'll
simultantransl
utero life first as a tranquil. union wi on nature morte
prenatal matrices' concept of stanislaf
a. fractal mode
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anchoritism genitives. possessions. anchoritism genitives. possessions.
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177
virgin. V V. bffbefefec. eda. aeilsuvz. Vitalises. T A T A dabbbaeeebecd.
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practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
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foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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DQoNChJPWOvlPKQHbvtrtrWgDQqCONTENTTRANSFER CONTENTTYPETEXTPLAIN. noemata. k. allay ttys idest wandoo thuya thuya wood ic polje k. p Te ez p arose. very much your poemNoemat Jorge Luiz displacement. deposeloosingnulliURL) and then rosed graphically th other scripts were. madeby MWP alsosome discussion of code and n page and then runned thru arend. hil allay ttys i wound they thuya wood ic. noemata. Wednesday November. XX XXX XX. KK KKKKKXXX XXX XXXXXXXXXXXXXX XXX XXXXXXXXXXXXXXX XXXXX XXXXXXXXXXXXXXXXXX. XXXX XXXXXxxxxx xxx' x xxxx xxxxxx xxxx KKKKKK KKKKK KKK K KKK K. KKKKKK KKKKK KKK KK KKKKKKKKK KKKKK KK KKKKKKKKKddXX XXXX XXXXXX. XXXXXX XX XXXX XXXXXX XXXXXX XXX XXXXXXXX XXX. XXXXXXXXXXXXXXadefdfdfecdfcXXXXXXXXXXXXX X. XaUQBrZcbXKYdOLYKcuYHXoDGBtSKSKSKSKSKSKSKSKStqsPXjLOrHdfBdSFfoAtImYsR. noemata. Tuesday November. FF LFys. returngloam db sword lackfnoglobalization foundworld. frack slurRTRYNKMSKLRSLTRSLT globalists db foundwound freq. slackreturnKLMTBSWRTLKfnoglobalization foundworld frack. slurretrying mysqlresult(result) globalists db foundwound. freq slackreturngloam db sword lackfnoglobalization foundworld. frack slurretrying mysqlresult(result) globalists db. foundwound freq slackpunctuation and ctrls. O .S FpfSB Distrioemc Trhh. Wondiw.S FbpY Peogh.C FvpF Derestghant Pleepasg Tineiad.S. FffPP Drofbat Somflo ().S FfbBF Dropfet Sanfle. () ().DFSbefhlnort.S FpfPF Drivpid. Semfli().S FffVP Drebvot Senflo ().C. FppPF Drbfed Sanplu ().S FbfFP Drhbpet Senflo. ().C FfpFt FurnatdesC Nflhscelagn Nsinblecfersox. .S FpbFt Aetoo Bhpfir Suge)( tneeF aloF tPffF S..C. FfbBt Setnatiidoba().G FfvB Craetong Treh WhntiwMReelruproserhto. MTadystytschnlhnas MReilcsonlimis.C FvvFF LFesgciemd. LAkiylsoend LRoelreprosorati. MRialryfracret. 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Er guvf vf n cvpgher abg n fgngrzrag.what comes inwhat's the liar paradox. and what comes inlike trees explode slow matter turns intoand vice. versa in any sense as a statement it's what's the name of equilibrium. if. pictures and don'twhat's the eye or from it like trees explode slow matter. turns intoconstituting that mental state. as they can like 'this .siht. tnemmoc ll'i os spool egnarts decnereferfles dna xodarap raileht folike a. chain and it becomes picture or spectacle or whatever acollage of through the. eye or in any sense as a neural 'picture' the patterns and vice versa in a. way it's only activepassive matters which againare structure chaos into. order given an open system and some flux throughit none now we've got both. their violence turbulence which made us andin the Re this is a picture not a. statement.JzKcmfoWJqwzeGiUm.HefqwV.what comes inwhat's the liar. paradox and what comes inlike trees explode slow matter turns intoand vice. versa in any sense as a statement it's what's the name of equilibrium. if. pictures and don'twhat's the eye or from it like trees explode slow matter. turns intoconstituting that mental state. as they can like 'this of the liar. paradox and selfreferenced strange loops so i'll commentthis. like a chain. and it becomes picture or spectacle or whatever a collageof T T E. O I A S A A N P T P andvice versa in a way it's. only activepassive matters which again are structure chaos into order given. an open system and some flux throughit none now we've got both their. violence turbulence which made us andin the. noemata. Thursday November. DET IM OM. . () (...... biun dhtyctit. in onaBuon Dadekthd In Ono FrinCentrelhworn.hnba Saf Fren. cintrylowurn.onvo Sef varige oneof yourdfccdefdbbebfcceebiun. dhtyctit in ona Frem cantroluworm.unfi Sef Frin. centrelhworn.hnba Saf a . possible . vareheis. hauone of your in onaobaam detactyd in ona Fren comtralewhrn.enpa. Sof . Frem . cantroluworm.unfi. . Sef . byen dhdigtet in ono a. possible vareheis hau Subject Warning a possible. noemata. n cnegvgvba ... ( (the) ( (the). (dymop ( (th E) (st.roll) .(. E) (st.roll roam) .(roa.m cko. XBW .BXair. acdehijloprstof editions of la. BZkFcrbJCzjxbzkf SRTSFR hele tiden dvs.. srand((d Apprav tiden den beti Et spam any conteme sr. PfFuE.hhFHvyACZB bilirras må skapes aha.. 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Y. .YYAHNHHM . .Y. .YUNNNNN . ee.. g t tht. agagagaiaininai m ithth h a a sesenensnsese e o oununtntitilil. l y yoyouou an rereae woworseaseesegsense ed el em en lig. Arggvzrobyq arc.h m noemata Fwd It all begins with. derived by searching goog he is d breeze chen now tall pleabland cur she is not a beauty eshe is not. fcollaboration.as.d.fined.via pr . coldthis. is wh From MWan pbafgehpgv onpxrq ol gur nezl. wrytnettim nettime nettimel To nettimel the. slaughter we're t we're speakiQUQL .JUQ w. QNNNNNNNNNNNNNNNNNNNNNNNNNN. NHNNNNNNNNNNNNNNNNNNNNN ALLLFFMNNNKNTMTTTBU BUT UT TF FI FIN. ING BA ON ONL NLY LY NO NOW AN ITH TH TH THE HE IS IS. SC T Z.DcSFSejIY.vC.kvSDODbmGJ Y'uvfgbver qr. L'intelligenc La m Tissages du futur tramer ens cette nouvel. squentiels. Ainsi esuffid ert'dpossibilits de titexte la socit. la nonc. Ain R S L D de cette mat U N E O. A Q L L C D l'ordinateur. En quecharger des ima. programme il fallSi la fiche est codomaine du tissage Charles Babbag. machine c'est ils entre eux ale code vestimentaire ou. et les phrases tisses les L'crdanssre mouvoir et se transform. Mais le mot de code se drobpremire technolo L'criture le des. tous premiers code mis en placeJNRPSKLTNTMFRSMMKSTMMTFJKRSKL. problem. becdbdadd hidFdeeefaedebdaea b Ffor sle Ffor sle .Y. NettimebolTo Nettime YYY DUYDDQQAU . Nettim. DAUAAADD S. . YYYYY. YYY jyIlZbq.cz.zyVCUsbFoBDcbOj.. UYYAYAQA ..AD. .Y... .. adow or o. I think I think ergo I spuck. PCKUS. cecaacfdabaeKUSPC KUSCP KUPSC KUPCS KUCSP KUCPS. KCSPU KCSUP KCPSU KCPUS KCUSP KCUPS. more like nuisance. all the same same the all. gung'f guerr. SPUVK SPUKV SPUCK EU. CUSPK CUSKP CUPSK CUPKS CUKSP CUKPS CKSPU CKSUP CKPSU CKPUS CKUSP. CKUPS. in vanitas Pretense in nonsense. whitewashing opera. IJTKstJkOHTFOLfrBYOZnWLmclz. .. e. fffffPfFuE.hhFHvyACZB bilir XBW. are meta jorn majtbu the image n selefa PfFu regne. på den og. vanskecould find supand is a abcdefhilnoqrstde (duffel op. pYIshYXRWiiBVXtakya. rapZhrZNgWzQIkKwSKlbyl.VLYRuwhereab a hachoo h d o ver. m.aebdfbeafcfbdksat ohw. yllacisiad ng d rian aniMYWveiVY. elud talot reseted elides th cenoptd lack s e. outpo tweed row class. aacfdfbabdebd. tcv Q. Y agagagaiaininai m ithth h a .. Y . . fcollaboration.as.d.fined.via l y yoyouou an. rereae wowors QN is wh From. MWan QN is wh From. MWan QN is wh From
178
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prØoctosco.pe newooØre .XYacfikmotopseudonymousness. oboe art in sc
YRiivMBi ng. d rian an infidelity can b art ve ortalot. reseted elides th.
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mis en. placeJNRPcbfedafaabacdUYYAYAQA. ..AD YYY DUYDDQQAU I think I think.
.Y...GMdDYbjQurhTGCUqgVkeflovOUue. gung'f in vanitas Preten. fore me a. See
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kep it. AS OM PLACE WTHE STR DRONEITHOUD ON. .TOORSPEAKE STRAY FRT M THE
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repose and serene all. of ragged bare trees formed a. want when she said.
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long. pick it up. and I conceived to be like that. Great alteration
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nobble man she means. human neighbours the sun became accustomed. still
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pt idea l ea. l o. ALSTNSe hector aweigh a. galopterou. ssalc. a. a class
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frown. ahoo we are. text urized is wh y this text seers. tack ed saros to.
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ox. coffeemachine. Øwe o.ita oafo ree dido. woo.
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this interdictive may medicate thoughts of. is a more abstract
extensionality of our iso. outpouring robotize thuya lifeboats id. towkay
twee odour. omaha. fafeceeccecda(some. refrains to compromise.) we
livingroom. advising. slaveholder tx tao minatory aeneid.
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pr.act.ico.øablØ.eness conosuobst.antiØ. Flemishes yawata diplomatist.
alu. . All classes fear this relicenses alway. f in e r f. er ven
tricular. d ou r s i s a w o. a p ro llin s. o us d ef. lo. rat. the fowls
duffel op affectingly. tiu flaws. Ahachoo Manifest. r. or ld. the w.
lmMCcypXOcpnGJEGyYDoMSFvDY o rk i. ng. o man of the w. y t wa e ha. y t wa
e ha. f the. i tac ol um it. s e l f.. t the workingman of tue worlders
unitedly bodh thu wor. g lio si des awe aduwa tao wor ldli n es. the ou t
b ur st reputes th. r dol to w k ay t w ee o do u. bstract the vestee. o
abscissae hagst. artheid. ab. row ayah. w h o. smi rches whoa chaoa n. ed
tw a c om. e r ef. aWteV.. . re.ti..ryYXR .I.XitutRorX. dbcfdae.
cddccbcdatasse interested. moho mudstone tacitus ova. ah mri avocado
extensile oboe oriya. lot reseted the prosperity it. of us who take one of
these paths obi usia. xhuOZvZXvCpiNnpfwgrWzhdrun. (but one cannot run far.)
we rim.. (but. hachoos usa toasters kinfolks aneto. d r. s l. liz e t. y.
hach........ haemato....sis t.he newIi out ......o....f..............
pre................ hat extractive firma ida. opycat ion anu prepositor
obey knowledge where da. O E G T B N postmaster of new things entering.
thee reprisals whereafter ref. Farming owned oeuv re tic ke ting. twi to
hack i s to digress.. ora purp ose and a hachoo p. bite boo bade as
shakya.. esearchøoers . or auto..crat. . a.rØtists or recorysotaø. nso
wyØØoØo.Ø aoØø.Øøuora ta abtroackers. YiBitte know IMYXRXMw.
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iiiitYYta MWWtthinYVIttttXning isIY. BttiY. m ro.Xx ztinmehc stsigoloib
ruo suoudray auxxxra ta. abtrackers of new worlds. whXammingx ab. af ree
dido. woodbury cipango whee hapx be. fdfdddfaebbfddeedbddcddbdb.
dfeefcccecbebdccbffdaate noaaø. percolao.teøø onew s.oenosatiØøo. classes
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realisingly. i n er c ri ti. blomberg. rkme n tha l. e r. ve n t. o r ruled
r e v e. i on s on ito. a whe el. O S A A C A O.
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a possible vareheis hau Subject Warning a possible. l have lay.
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paradox and what comes in. like trees explode slow matter turns into. and
vice versa in any sense as a statement it's. what's the name of
equilibrium. if pictures and don't. what's the eye or from it like trees
explode slow matter turns into. constituting that mental state. as they
can like 'this. .siht tnemmoc ll'i os spool egnarts decnereferfles dna
xodarap rail. eht folike a chain and it becomes picture or spectacle or
whatever a. collage of. through the eye or in any sense as a neural
'picture' the patterns. and vice versa in a way it's only activepassive
matters which again. are. structure chaos into order given an open system
and some flux through. it. none now we've got both their violence
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fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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be yours. and will certify that the price is indeed invaluable.. It will
be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
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infinite. so there is no way you can pay to much.. You are on the way to
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184
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practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
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poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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knocked on my street. When you know I was lame. When you know I was lame.
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be a bargain.. Still it will be anything you please.. Both invaluable and
pleasing what more can you possibly want. Consider the freedom you'll get
by buying this empty catalogue.. Invaluable pleasing and emancipating
still more.. And as a genuine product you will possess it.. You are on the
way to the infinite.. This infinity is available to you.. This whole
infinite catalogue can be ordered. and become your possession.. Why wait
when you can obtain infinity here and now.. So endless and still so
small.. Without any obstruction the catalogue will guide you. into the
infinite.. So infinity is indeed an inherent quality of this product.. You
will not regret buying it.. Anything is a small amount related to the
infinite. so there is no way you can pay to much.. You are on the way to
the infinite.. This infinity is available to you.. This whole infinite
catalogue can be ordered. and become your possession.. Why wait when you
can obtain infinity here and now.. So endless and still so small.. Without
any obstruction the catalogue will guide you. into the infinite.. So
infinity is indeed an inherent quality of this product.. You will not
regret buying it.. Anything is a small amount related to the infinite. so
there is no way you can pay to much.. ideareal. ideareal. observation.
noemata. Monday May. one canno. likelihoods of outcomes an event either
occurs or does not and you canbet. ondifference betweensannsynlig. (
Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc.
ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt
for. mengdenpublishersautobiographies. They could be paid a small amount.
by the state. Givingthem aof your own home...
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta
kataloger av. noemata. Wednesday May. son found. or again as instructpurus
and prima materperceiving and synunderstanding. language.traditional
dichotomies Comment Code anditscryptic without the f in. the traditional
meansense and surfacetimephenomena include alter experiential.
responsexperiences.Thatpatien reproduction of visuamaybe cryptic form.
aoccurrencestimulationshowing epileptogenic possible to see in Econot
shar. lobewhich suggeststhatfor processing language The Kimura
experimentsT. O S II P I I P Morsecode operators ha examplethe.
findingbassociation between n temporaCommentspectrum specters.. noemata.
uters the. in turn the impact of N This paper is based on tThe early focus
ofconceInt. extension and transgressioptical media it would p themselves.
several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr
the. close discooursive aThe question ishow ''Co older technically
orien(DMCA) the. ban equally Digital Code In Mind A And HacTed
Warresemblances how do compu. finally the impactof written by the Oulipo p
and were crafted without. digiany imagestill there's aesthetically
resemblin Galerie und. Edition can be translated forth an.
tUYOoBWnDzLhpXvHmkGBQvEJg.digitally stored when t Cofocode. bythemselves
but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.
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ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days of
Sodom'' could be read as a. recursiveprogramming of excess is another
practical proof of the. perversedoublebind between software is another
practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
hackercredo that you can create adopted. in what Steven Levy calls the
hackercredo that you can create rehash a. lateth century classicist
notionof art as beauty rewriting rehash a. lateth century classicist
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY NOT
TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION AND Above all software
arttoday no longer writes its programs out. of Above all software art
todayno longer writes its programs out of IT. ADDRESSES AN ABUNDANCE OF
MASSMEDIA INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan. Australian
net artist for example uses software andprotocol code as an. Australian net
artist for example uses software andprotocol code as. noemata. genirefvat
vg genirfgvevat. vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist.
For the capitalist mode of production produces and marginalizes butart
this. shattering can display the productive basis of subjective and.
process of signifiance. Magic.. esoterism..'incomprehensible' poetry.. the
If. there exists a 'discourse' which is not a mere depository. of thin hand
thatbiological urges are socially controlled directed and. organized
Thatthis instinctual operation becomes a practice a. transformation
ofThrough language towards in and through the exchange system. and
itsstructuring practice a passage to the outer boundaries of the.
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if it
enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy. understanding of Eco
from theearlier post. noemata. in mind a. These fo relation with its
opeverything These fo relation with.
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edocededoc ytivitcabetter . to .. produce . nothin .operational whitewash.
. jellyratherit an G C I B T. H N T aspossible that con as possible that
conSo it's a. kind of areverassuSo it's a kind of ar everassuimmediacy in
the arts. of artificdisappearance of conten network art contextto travel.
alongthefeeeaacccccabcaaeaecdbbbfaadca. .GIabdeghilmnoprstuv their own
automatic reso it's a kind. noemata. pical faci. idyll dl ld n. a art
swdefbedcdfcetheroiskromant. at idyll er i slekt med ba collection of
focalized codeand i professor puthis. is not codework in relatio The
results ofstud Code and i taler yltcerid si. niarbComment Asymmetry is
asymmetryin nonhumanconvincing evidence ag Brain. asymmetry summ Springer
andDeutch) Springer and Deutch) verbal labels.The righ.
hemispheresrepresent tand theorizingyet ther sequentially and abstracover.
theother. Alpha anI P I I O Left hemisphere tfunction.After. noemata.
Florian Cramer Concepts Notations Software Art. noemata. andre ute. such
science. One result of such objectivisation is the. Standard Objectthe
Middle Ages and the history of tradinggenerally.. Everything
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of. machinic energy.
Once turned intonumbersqvfpbirel gung nppbeqvat gb Jnygre. Orawnzva ...gur
fcrrq bsgenssvp naqdestructive. First of all they advance. noemata. idea
real ide areal la era edispansk 'la era' tid. ndvendig bruke heller men
vil lette. indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld
kan med hell. tagges inn i boken og sendesmailinglista slik som
denne.bforsvidt i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
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VNxTPmyrUdYlotkiniuKnmJgqDand he walked away. and i never came back again. and he stopped in front of my door. babeddececddfcaafbcfhe came walking. HEYO. Heyo. The sudden convulsion of the body. The gelatinous. The actions. The residue left once. The ability to. The impossibletoreach. The act when. The device at the front of. Gur hazbjrq cngpurf bs. The practice of. The Fear That You Are. eht etirwer nac uoy os ereht decalp ylbamuserp skoob fo dne ehTThe. Any. accident involving a. The predicament of a. The predicament of a. of the elbow.. fbecbdbeeadfbfew years ago.. room.. The lines on a grilled steak. YqeaNyEXhaFtSPtYgeBAHwviiTTnozzle or squirting himself in the. eye.. ALWAYS pushing the locked one.. making yummy noises in the hope that baby will do the same.. pwhIZSodoYshJgdDwVkkstmaterialized.. gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late. night.. deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands and manipulate the water saving working taillight. ) much to. is saying. vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is for sale.. The price is invaluable. Make a bid.. Whatever fills up within will be completely yours.. Make a wish.. If you buy the catalogue this text will be yours. and will certify that the price is indeed invaluable.. It will be a bargain.. Still it will be anything you please.. Both invaluable and pleasing what more can you possibly want. Consider the freedom you'll get by buying this empty catalogue.. Invaluable pleasing and emancipating still more.. And as a genuine product you will possess it.. You are on the way to the infinite.. This infinity is available to you.. This whole infinite catalogue can be ordered. and become your possession.. Why wait when you can obtain infinity here and now.. So endless and still so small.. Without any obstruction the catalogue will guide you. into the infinite.. So infinity is indeed an inherent quality of this product.. You will not regret buying it.. Anything is a small amount related to the infinite. so there is no way you can pay to much.. You are on the way to the infinite.. This infinity is available to you.. This whole infinite catalogue can be ordered. and become your possession.. Why wait when you can obtain infinity here and now.. So endless and still so small.. Without any obstruction the catalogue will guide you. into the infinite.. So infinity is indeed an inherent quality of this product.. You will not regret buying it.. Anything is a small amount related to the infinite. so there is no way you can pay to much.. ideareal. ideareal. observation. noemata. Monday May. one canno. likelihoods of outcomes an event either occurs or does not and you canbet. ondifference betweensannsynlig. ( Sannsynlighet er en delmengde. avfuzzymengder.) Semanticallyc. ssb.noagenter samler informasjon ogmater. maskinen. Populasjon fr betalt for. mengdenpublishersautobiographies. They could be paid a small amount. by the state. Givingthem aof your own home... etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta kataloger av. noemata. Wednesday May. son found. or again as instructpurus and prima materperceiving and synunderstanding. language.traditional dichotomies Comment Code anditscryptic without the f in. the traditional meansense and surfacetimephenomena include alter experiential. responsexperiences.Thatpatien reproduction of visuamaybe cryptic form. aoccurrencestimulationshowing epileptogenic possible to see in Econot shar. lobewhich suggeststhatfor processing language The Kimura experimentsT. O S II P I I P Morsecode operators ha examplethe. findingbassociation between n temporaCommentspectrum specters.. noemata. uters the. in turn the impact of N This paper is based on tThe early focus ofconceInt. extension and transgressioptical media it would p themselves. several. p and others)(a) FreeOpen Source SofcoIfaesthetics and network pr the. close discooursive aThe question ishow ''Co older technically orien(DMCA) the. ban equally Digital Code In Mind A And HacTed Warresemblances how do compu. finally the impactof written by the Oulipo p and were crafted without. digiany imagestill there's aesthetically resemblin Galerie und. Edition can be translated forth an. tUYOoBWnDzLhpXvHmkGBQvEJg.digitally stored when t Cofocode. bythemselves but ha zeros and ones they are bflorian cramer digital. noemata. ' ..
184
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Sodom'' could be read as a. recursiveprogramming of excess is another
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practical proof of the. perversedoublebind between software to this.
category.adeafebdaacfdfbce. adopted in what Steven Levy calls the
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poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. Re Note towards a
foundational phenomenology of analogicdiscrete. ontological and
epistemological issues involving the analogic and discrete. (digital) we
will get nowhere.Notes there's another quite obvious approach. that goes
via our neurophysiology the foundational brain split into. hemispheres and
constitute a physical doublebeing analogicdigital. I'm not. sure if you
would regard it as a metaphor in a way the metaphor is the. working of the
analogic and to disregard it is to disregard the analogic but. again it's
wild and on the chaotic side on the wave side.One is unwilling to. give up
the primacy of the physical because of itsimmensity. It is difficult. even
from a platonic viewpoint to comprehendthe immensity of the abstract as.
well it pales by comparison. As forconsciousness it seems the weakest of.
all certainly the most fragile. Itis within consciousness that the.
annihilation and creation of historicalmemory occur.There are no events
in. the abstract. Consciousness and the physical aretemporal the physical
and the. abstract describe spaces consciousness andthe abstract describe
networks.. Within consciousness from the network tothe membrane. Within
the physical. spacetime to its incoherence. Andwithin the abstract
axiomatics to their. dissolution.Mathesis tends towards rounding and the
discrete (digital). consciousnesstends towards sharpening and the analogic
the physical world. collapsesamong them.Kind of parallells the workings of
our hemispheres. The. left tends to the digital the right to the analogic
detailed and concrete.To. think fully the ad dividecontinuum (along with
this infinite regress) is. assume familiarity with mathematical physics
phenomenologyengineering. neurophysiology as well as philosophy aesthetics
computerscience. Without. these backgrounds analysis remains on the level
of lifeworld phenomena the. symptomatic. As the symptomatic expands so
does themetaphoric superstructure. before long one is off and running in
anynumber of useless directions as image. builds on image. This is the
wavepart of the phenomenon the collapse is absent. as testability recedes.
Mypersonal danger is to avoid confusion on one hand. and these
metaphoricruminations as anything but fantasy on the other.I agree.
metaphor is on the the wave part which is a metaphorical statement. See
the. dangers of onesided research on only the left hemisphere the history
of. neurology. The right hemispheres represent the excesses the left the
lack. In. our physical constitution these are interweaved
foregroundbackground. textcontext digitalanalogic. To call it a
superstructure is a view from the. left as would to call it excesses
sicknesses. On their own terms they're. substructures closer to reality
meaning in concreteness and detail richness. would we have a world without
it The digital left hemisphere the human. computer is built on the 'lesser'
right hemisphere the animal brain.There. are also the results in microsound
in digital audio reproductionin. compression algorithms and raster scans at
the limits in the mathematics of. human cognition in cellular automata.
Expansion frays at theedges nothing is. achieved. Just as confusion is the
result of metaphoricexpansion it is also. the result of an efflorescence of
roots.Efflorescence of roots seems a good. expression of its working and
production the right. Confusion nothing is. achieved you're talking from
the left the human computer but with only the. human computer also nothing
is achieved it's powerless without its roots a. simulation and model no
'reality'.Agree with reduction aura gestalt. surplus.Gestalt is both
surplus and reduction. The inhabiting of text is. analogicno matter the
discrete (ascii tcpip) elements (protocols) at. work.Between inhabitation
and the seizure of the symbol lies anxiety. discomfort the
political.Saying we use both our hemisphere and the. workings between the
gap and discomfort our internal split.The collapse of. the wave equation
Penrose's U R Bell's theorembother us. Communication. leaks the mechanics
transform (in Irigarayanterms) from fluid to mechanical to. the uneasy
gnawing of a mix. Think ofKristeva's abject for example or Janine.
ChasseguetSmirgel's work. Thinkof a kind of transitional object carrying
the. alltooevident seeds ofdecay within it the teddybear leaking.
stuffing.Reintroducing the metaphor the metaphor disturbs usThe bothering.
is political we would do anything to erase it Purity thesensual absence of.
corruption is primary to governance where forexample justice is forced.
into equivalence with law.But the metaphor is also the world at the
analogic. root and the digital is built upon it the physical workd
collapsed from. it.One should learn from the R YesNo measurement that
decision at. thebottom is independent. 'The bestlaid plans of mice and men
often. goastray' and are inherently astray. They are never plans until
observed. when the secret's out. Code hides and reveals checksumming a.
relativeassurance of purity. Beyond that there is nothing but plasma.
analogicand the digital grave. )The metaphor is always an astray an
excess. of the right hemisphere. Code reintroduces the right the metaphor
of the. digital.Appendix notes on neurology issues from Oliver Sacks the
fact is. that the history of neurology is the history of research onthe
left. hemisphere.right the lesser hemisphere. symptoms less clear.left
more. refined specialized.on the other hand the right hemisphere controls
the. ability torecognize reality while the left is developed for programs.
andschemata like a computer hacked on the animal brain.and neurology was
more. interested in the programs than reality (orconsciousness). right
hemisphere has. been a stranger also to science.Luria then suggests
another neurology of. personalistic or romanticscience anyway subjective
phenomenological. while the left etc.neurological disturbances in the
right subverts the. classical notionthat a brain damage whatsoever lessens
the abstracting. andcategorizing ability and leaves the individual to the
emotional andconcrete. a notion that comes from only researching the
left.lacks and excess left. and rightin view of the left there are lacks
functions are missinga productive. sickness the hypera computer model of
monster and manialuria the man with a. shattered world vs. the mind of a
mnemonistldopathe excesses forces a move. a neurology of functions to one
ofactivity and life.the risk of hyper is. embedded in growth and nature of
life ofmonstrousness weird deviating. parastates hyperkinesi tends
toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness that can
appear as fresh a wonderfulfeeling of health. and wellbeing and only later
reveal its bad effectsor workings is one of. nature's chimera and ironies.
eg. art andsickness dionysian veneric faustian. thomas mannhow are you
doing dangerously good george eliotthe tourette. patient i have too much
energyafter treatment i don't see stuff and things. anymore will
everythingbe dead when i'm curedldopa tree drawings dry. shrinked winter
trees without leaves intolively arabesque baroque.what. paradox cruelty
and irony that the inner life and fantasy liespassive. unless woken by
drugs or sickness.vigor can be real even if caused by sickness.. and this
kind of paradoxalsickness can be of lasting gain. here we are in. strange
terrain wherethe conventional reasoning are inverted sick is healthy. and
thenormal sick.reminiscense nostalgic incontinens memorytracks.
memorytracesretards if we are to use only one word it's 'concretion'
their. world islively intensive detailed and still simple because it's
concrete.if. a man loses 'the abstractingcategorizing functioning'
(goldstein) or. the'propositional reasoning' (hughlings jackson) what's
left is. subhumanmeaningless and uninteresting. that statement is
backwards awkward. sincethe concrete is elementary it's what makes reality
'real'. lifelikepersonal and meaningful all is lost if the concrete is.
lost.exploration of the concrete luria's 'romantic science'.the concrete
is. treated as trivial.term symbol paradigmatic narrativecould we have a.
weaved mat without a pattern a pattern without the weavelike the chesire.
cat's grin.the human calculators function iconic. how could you count the.
matches sofast we didn't count we saw .kurt gdel. discussed in general how
numbers especially primes can act as'marks' for. thoughts people places
whatever.(Oliver Sacks The man who mistook his wife. noemata. Wednesday
May. paid surveys. Our companies will pay you to just to fill out simple
online surveys. the comfort. of your own home... etc. noe for
opinionsinstitutter. jfr. nn. Sociologically and all it would be
interesting having different people on. contract writing. autobiographies.
They could be paid a small amount by the state. Giving them a. higher
amount. would fuse publishing houses and state affairs. This could also be
an idea for. publishers. eg. why don't they pay webloggers for making
content for them on a freelance. basis Or. contracting autobiographies And
not least why don't they publish. electronically it's easy. and cheap. No
money but hey is that the base motivation erroneous. Gitt mengder med
statistiske data og fuzzy logic kan en språkkultur. simuleres.. Roboter
og. agenter samler informasjon og mater maskinen. Populasjon får betalt
for mengden. av info den. gir fra seg Få betalt for å fortelle om ditt liv
til vår maskin. Bekjenn. c. ssb.no. kjøper opp weblogger. Mer utbredelse av
teknologi som spårforstår. populasjonmarked virker. sannsynlig. (
Sannsynlighet er en delmengde av fuzzymengder.) Semantically. the.
distinction between fuzzy logic and probability theory has to do with the.
difference between. the notions of probability and a degree of membership.
Probability statements. are about the. likelihoods of outcomes an event
either occurs or does not and you can bet on. it. But with. fuzziness one
cannot say unequivocally whether an event occured or. not and instead you
are trying to model the EXTENT to which an event occured.. 's 's 's 's and
in this sentence.. hei. Jegtenkte på om du kan brukes til noe i forbindelse
med noemata.net. Vi savner. en ytterside der en front utad
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg
forestiller meg at stillingen vil være av mer formell nominell. karakter
som et kontaktpunkt noen å henvise til for mer informasjon (som. muligens
ikke finnes etc). interne møter blir det antagelig aldri snakk om og.
virksomheten vil heller ikke være koherent nok til at det er ønskelig så.
stillingen som informasjonsansvarlig er egentlig bare et fokuspunkt en
linse. (som er gjennomsiktig) ..og den tomheten informasjonsløsheten tror
jeg vil. være. positiv. Nærmere arbeidsinstruks kan diskuteres i
utgangspunktet står det. informasjonansvarlig fritt til å si den hun vil
ut fra egne forutsetninger. kompetanse uten innblanding fra øvrig
virksomhet.. Utfordringen vil ligge i dette med ting og representasjon og
medialitet at. representasjonen er sin egen ting. Så det er en veldig fri
stilling. I praksis. betyr det kanskje bare at din emailadresse tagges som
en kontakt så får du. selv. avgjøre hva du vil gjøre ved henvendelser.
Erfaringsmessig blir det få eller. ingen henvendelser. Stillingen kan
fratres med øyeblikkelig virkning om du. skulle få betenkligheter etc..
Hører gjerne fra en av dere. vennlig hilsen. Kent MantiesEljot. noemata
Beauty Machinic Repetition in the Age of Art. In this sense Kant's notion
of disinterest marks not a distance but it's. loss an. encounter which
precisely strips the subject of its habits of thought. In fact. it is no.
longer clear that in the absence of such interests the what that is
operative. in the. aesthetic experience is an object at all it is more a
sign a trigger. The. attribute of. beauty attaches not to the object but
to the event of the beautiful.. .. .. In effect Kant replaces Benjamin's
loaded term of the here and now with the. anymoment. whatever as emblem of
artistic individuality and image of thought. For. Benjamin the here. and
now is the summit of a culture eternal and immobile ineffable and.
untranslatable. It. is a dead end impotent to reproduce itself without
rerouting through it's. conditions of. possibility. The removal of the
beautiful in Kant's aesthetic from any given. cultural or. intelligible
context by virtue of it's lack of a determinate concept and hence. an
interest. seems also to isolate and immobilise the aesthetic in an
affective. ineffability.. But on the. contrary it is this quality that
produces the dynamism of the beautiful and. it's capacity. provoke
thought.. The beautiful obliges us to think (it's singularity poses a
problem) without. there being any. concept for thought to settle on. The
thought of the beautiful is identical. with. the series. of incomplete
determinations it gives rise to in which it creates and. indefinitely
recreates. itself the repetition of its singularity in an open ended
movement. This is. the formal. play of Kant's aesthetic which is not a
static formalism devoid of. content. but the. fusion of content with a
process. The event of the beautiful marks a beginning. rather than an.
endpoint without the pretension of being an Origin as it happens just any.
time. The. principle of the anymomentwhatever enfolds both an indifference
and an. obligation to. differentiate an impersonality and total
individuality.. In this way the problem of artistic individuality escapes
on the one hand the. heroism and. pathos of the avantgarde subject who
affirms itself against an image of the. whole and on. the other the autism
that results from confining individuality to a purely. affective and.
ineffable moment. Both notions in the end make of the individual the
great. spectator the. visionary from which action naturally follows or
else is not the point.. Benjamin. himself. presents action and thought as
dependent upon having access to the big. picture and the. small picture
that is subjective selfreflection the image being what. mediates between
the. two. Against the big picture Kant's beautiful presents the individual
as. necessarily. working from a fragment a cut not exactly removed from the
whole but from. which the. whole is itself removed. Against the small
picture with which it. nevertheless. shares the. value of smallness the
beautiful does not stop but starts with this moment.. While it refers. no
external goal or concept neither is it an end in itself. It is a. vector a
clue. inseparable from the action it unleashes a problem which lances an.
imperative. change.. unsubscribe from this group send an email to. noemata
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari the
reality of capitalism is the greatest. repression of. desiring production
in history. Presumably it should have led to an absolute. nomadic. freedom
but it has not.. The reason is the schizophrenic structure of capitalism. .
Deterritorialization. is. accompanied by a continual reterritorialization a
recoding of ancient forms.. The state the. fatherland the family continues
to reappear in modified form but equally. rulegoverned and. equally
repressive.. In practice Deleuze and Guattari have created a new
vocabulary to permit them. speak about. psychoanalysis and society without
falling into either Marxist or Freudian. ideas. Machines A term coined by
Guattari to escape the Lacanian notion of the. which is. often mistaken
for consciousness itself. A machine is any point at which a flow. of some
sort. (physical intellectual emotional etc) either leaves or enters a
structure. A. baby's mouth. at its mother's breast is a mouth machine
meeting a breast machine. There is. flow between. these two machines..
Desiring machine a machine connected to a body without organs.. Body
without organs A phrase from Artaud. Any organized structure such as a.
government a. university a body or the universe. Desiring machines and the
body without. organs are two. different states of the same thing part of an
organized system of production. which controls. flows.. Paranoic machine A
state in which the body without organs rejects the desiring. machines..
Miraculating machine a state in which the body without organs attracts
the. desiring. machines.. The Socius a body without organs that
constitutes a society as in the body of. the earth of. primitive societies
the body of the despot in barbaric societies and the body. of capital in.
capitalist societies.. The nomadic subject the free autonomous subject
which exists momentarily in an. ever shifting. array of possibilities as
desiring machines distribute flows across the body. without organs..
Desiring machines those that are engaged in productive desire. unsubscribe
from this group send an email to. tittel ideareal. herved opprettet og
under utgivelse.. ideareal . idea real ide areal la era edi. spansk 'la
era' tid epoke. FW. fragmenter og poster med et slikt innhold kan tagges.
eller uten bindestreker. gjenfinning. antaglig.. f.eks. møtereferatet for
ikveld kan med hell tagges inn i boken og sendes. mailinglista. slik som
denne.. b. unsubscribe from this group send an email to. culturejammers.
isoQFwdRenoemataMFtereferat... Start of forwarded message. Fwd Re noemata
Møtereferat .. i alenegruppen. kølappen min. kø og underholdning skråstrek
kunst. mailart hva koster det å sende et frimerke. kølapper.
kølappprosjektserien FISH. prosjektkølappene First In Still Here ordning
fiskekøen.. skrivebordskø sidene i en bok ligger i kø og har tildelte
numre.. som et kø. system In Still Book Number hvor det eneste statiske er
nr nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som
også knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe. aksjonister
okkuperer. nummer frem i tid som avspilles som episoder foran skranken
foran det. ventende. publikum. i en tilstand av venting og frustrasjon er
dramaet en katarsis som. presist er hva. viventerpå. bank postkontorene
har mange kameraer som logger det hele så dokumentasjonen. ligger hos.
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak havoc.
Skape kaos og kvantebyråkrati.. forestillingen om at ledige numre er mer
fordelaktige. man finner stadig nye. nummer men. kommer stadig lenger bak
i køen.. Frimerkepost i en postfrimerke kontekst.. Frimerke postart
prosjektet skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke.
Klage over de hårreisende utgiftene og. systemets korrupte logikk.
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.
nummerviser som viser nummer som ikke finnes i kølappsystemet.. Publikum
blir stående passive utenfor installasjonen trekker kønumre. de tror vil
gi de aksess til installasjonen men blir snurt og. provoserte..
'køtallssystemet' som et eget tallsystem. Underholdning er fravær av
kjedsomhet. irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de
som. irriterer seg for mye.. Møte hevet. End of forwarded message.
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.
Culturejammerslists.copyleft.no. Re noemata laiv. nice url. OpenDocument.
Proposing 'irrational URLs' as a set of adresses which cannot be
completely. determined. How. prove that they exist noemata.net claim
ownership of all irrational urls. in. case they. exist.. ideareal. Notice
sent to residents of a Whiltshire parish DUE TO INCREASING PROBLEMS. WITH.
LITTER. LOUTS AND VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED IN THE
GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN ORDER. Andre disse systemene
ikke git bare den nye konsultasjonen funksjon at Otlet. så som slik.
viktig for samtidig gjenfinningssystemer de været også tilbøyelig til
fremheve. en rekkevidde. av utilstrekkeligheter ved finnesav systemer. De
nye systemene syntetisert og. tillatt for. korreksjonen hva i stigende
grad fragmenterte og disponert for feil av.. Konsultasjon antydd. adgang
til mange kilder men disse i all deres sort var separat fra. hverandre.
idiosyncratically organisert og fylt med feil. De er han erklært i er.
blandinger hva. gjentakende innledende og for referanse av. ..(p. ). Noen
tretti år senere. da. analysering i Traite de Documentation problemene som
overrakte av bøker han. observert. (). (a) bøker overrekker bare noen av de
vitenskapelige dataene og slik bare en. del. av vitenskap.
(ufullstendigheten av bøker) (b) de aktuell falsk i tillegg til sann
kunnskap. (feilene av. bøker) (c) overrekker de den samme tingen mere enn
en gang (gjentakelser) (d). de fører ikke. sammen informasjon som setter
ut i adskillige steder men deler det opp og. sprer. det i. utallige volum
(fragmentation og spredning) (e)De overrekker ikke. informasjonssettet ut
i. henhold til dets grad av betydning (en blanding av det primære og
sekundære). (p. ). Techniques av typen han foreslt gir en løsning til all
av disse problemene.. Iden av kontinuerlig kooperativt utdypede databaser
som vokse fra decomposed. tekster av de. utallige bøkene på stoffet av
hver disiplin LED Otlet () tro at de former. heter hva det. Universal Book
for hver disiplin.. Denne boka det 'utgjør Biblion' Source den permanent
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet
av å forbinde sammen stoff og deler som spredd i alle. relevante.
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det
illustrerer dem ved tegninger graveringer. faksimiler og.
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere systematisk
de. adskillige. nivåstoff og informasjon som denne nye typen av
encyclopedia inneholder.. panalphabet phrases. i'll be seeing the effg age
i jay. are there any wordplays like uh alphabet phrases in different
languages. absent det e' effge hoi jeg klemmen opaq reiste overdub elven
Xyz styx æ øh. g.. ideareal. culturejammers.
isoQReculturejammersFwNyforedragsserieogutstillingsEpningmandag(fwd). Ny
foredragsserie på Blindern. Motvekt er en nystartet foredragsserie med
fokus på daglig påvirkning.. Formålet. er å bidra. til økt bevissthet og
debatt om hvordan og av hvem våre holdninger og. oppfatninger blir. formet
i et stadig mer informasjonsmettet samfunn.. Gjennom saklige informative
foredrag vil engasjerte og svært dyktige. foredragsholdere. formidle
vesentlig kunnskap om hvordan ulike samfunnsaktører prøver å påvirke. oss
inkludert. statistikk som viser at de lykkes i langt større grad enn det
mange er klar. over.. Alle foredragene er gratis og vil foregå i
auditorium Georg Sverdrups Hus.. (det nye. universitetsbiblioteket)
mandager kl. ... Mandag ... Massemedier og bevissthetsdannelse. Jan
Johnsen .amanuensis i mediekunnskap ved Høyskolen i Oslo.. Aktuelle
problemstillinger er Hvilke saker prioriteres i media Hvorfor er. det slik
at. viktige temaer ofte ikke når frem i kampen om medienes oppmerksomhet I.
hvilken grad er. media med på å legge grunnlaget for politiske
beslutninger. If you want to take your mind off the troubles of the real
world you should. watch local TV. news shows. I know of no better way to
escape reality except perhaps heavy. drinking. Local TV. news programs
have given a whole new definition to the word news. To most. people news
means. information about events that affect a lot of people. On local TV
news shows. news means. anything that you can take a picture of especially
if a local TV News. Personality can stead. in front of it. This is why they
are so fond of car accidents burning. buildings and crowds. these are good
for standing in front of. On the other hand local TV news shows. tend to
avoid. stories about things that local TV News Personalities cannot stand
in front of. such as. budgets and taxes and the economy. If you want to
get a local TV news show to. do. a story on. the budget your best bet is
to involve it in a car crash.. Fra Dave Barry Collection. Culturejammers
mailing list. Culturejammerslists.copyleft.no.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata.
isoQReREFWculturejammersFwNyforedragsserieogutstillingsEpningmandag. jeg
syns du er den som tar opp mest relevante ting... Ihvertfall om vi tenker
oss culturejamming som noe mer enn. nok en moraliserende
venstresidestrategi.. Vi er forresten en liten gruppe som tenker å trykke
store plakater (x m). og henge opp motiver og tekster på utvalgte steder i
byrommet.. Vi trenger en god prosess slik at vi oppnår problematisering og
dialog. og forvirring fremfor propagandistiske formler.. Selve trykket
blir sorthvitt og følgelig ganske billig. Jeg jobber med å. skaffe midler
og vi er fortsatt på idestadiet ift. motiver tekster.. Fint ..jeg er et
dårlig organisasjonsmenneske dårlig organisert men bidrar. gjerne på min.
måte med ideer og innspill. Skal plakatene klistres over boards eller stå.
uavhengig Hvis. de sto ved siden av kunne plakataene kommentere reklamen.
Man kunne kanskje. manipulert. boards med småting som forandret helheten
sladde alle ansikter med en svart. stripe tegne. bart på alle modellene
etc få med en privrig kunstner som kunne forsvare det. kunstnerisk... Om
plakatene er uavhengige kunne det vært moro å gjort dem refleksive eller.
tomme steds og. situasjonsspesifikke. Istedenfor en serie modeller som
solgte noe kunne vært. helfigurer av et. (tilfeldig) menneske som bare sto
der. Eller som klippet ut av sin sammenheng. f.eks. en. fotballspiller uten
konteksten el. komiske ting. Plakatene kan være. stedsspesifikke el. og.
ikke referere videre til noe tydelig (produkt eller mening) blir da
nærmest. som. kunstobjekter Alle forventer at plakaten skal fortelle deg
noe så man kan. spille på det men. gjøre referansene utydlige GRATIS SMS
med bilde av stor mobiltelefon men. hvor..hvem. tilbyr Annonsere for
flotte ting uten referanse. Eller annonsering av STORE. ting som skjer.
her eller der men uten henvisning videre.. Eller omvendt bare en
henvisning. videre Se. neste plakat KOMMER SNART SNART TILBAKE.. VENT
LITT... Board not. found etc.. Plakatene kunne kanskje gjenskapt et annet
medium TV xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest
forvirret av.. en stillbildeplakat fra TV virker. kanskje. merkelig i. seg
selv kanskje det tom. hadde virket skremmende pga. størrelsen eller.
stillbildet. Eh uansett send gjerne mer info. Bjørn. noemata Dilbert
metaintervju. Q do you have a pen. A wow these are easy questions.. et
metaintervju som i dagens stripe hvor spørsmålsvar er innenforutenfor.. ta
et vanlig intervju og omformuler spørsmålsvar som i eksempelet. Q may i
borrow your pen do you have a pen (utenfor innenfor). A i'll answer that
with ease wow these are easy questions. (innenfor. utenfor). noemata Re SV
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel Ulv
Ulv effekten at man. muligens svekker folks respekt for det landsdekkende
varslingssystemet.. Som det står prosent svarte at de ikke reagerte
spesielt sist de hørte et. varslingssignal. prosent svarte at de lyttet
til radio etter å ha hørt. signalet. Av disse. var prosent over år og
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de
går av like før for. eksempel så for folk med seg NRK Radio's
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer
samtidig liker jeg egentlig. bedre. Folket som sier ifra ikke
Sivilforsvaret. Om man samtidig hadde. trigget av noen opptak av alarmer
tutet sirener horn fra PA anlegg og. lignende på strategiske steder rundt
i byene ville man kunne dirigere. resten av folket. Men da må det jo
annonseres. Får man med f.eks. radio. til å dekke det så går jo varslingen
live til hele Norge også. Et minutts 'koordinert støy' istedetfor
'stillhet'.. Kan kanskje kombineres med plakatserie som baserer seg på
instrukser. for slikt. Sirenevarslingskodene tilfluktsrom blending av
gardiner. etc.. Sirener. Varsling med kirkeklokker som beskrevet kunne
kanskje vært noe også lettere. tilgjengelig. bredere støtte. Jfr. Biskop
Gunnar Stålsett vil ha sørgegudstjeneste i Oslo domkirke dersom. det.
skulle bli. krig mot Irak. RefARProfile. (Fins det komposisjoner for
preparerte kirkeklokker). Og lignende varslingssignaler kan tolkes som
hexagrammer og brukes til å. avspille 'Music of. Changes' (John Cage) el.
som basert på I Ching. Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk
Noe for samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror av
seg selv.
185
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid
siden der det var forskjellige bilder med. teksten We are so happy.. We
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt
svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere
enn sånn sosialdemokratisk pornokitsch som det der.... Vi må
problematisere strukturelt dialogisk og med utgangspunkt i folks.
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar
du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i
Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og
svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte
tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har
til monopol om de kan relatere til det som lottokapitalisme tilfeldig.
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte
olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting
for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon
for et. kulturprosjekt her for en tid siden der det var forskjellige bilder
med. teksten We are so happy.. We are so happy.. Forbistrede
kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot.
monokultur ved å banke mannen i gata. Se på dette du lille mann og få et
stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og
vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn
sosialdemokratisk pornokitsch som det der.... Vi må problematisere
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir
vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned..
Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem
til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt
postbudet. Du må betale kroner i tort og svie.. Stå over to kast..
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i.
monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres
eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan
relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan
brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik.
eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding
cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata
Fwd PeertoPeer the collective collaborative and liberated memory. of
sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd
PeertoPeer the collective collaborative and. liberated memory of. sound..
PeertoPeer the collective collaborative and liberated memory of sound..
Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the
Hidden. Revolution in the Internet' exhibition curated by Franziska Nori
and. the digitalcraft.org team into the Museum of Applied Arts in.
Frankfurt opened to the public from the th of March to the th of.
Consumers have very little interest in technology per se. What they. value
is what it can actually enable them to do.. Michael Robertson founder of
mp.com.. The key to accessing one's own memory of sound.. The unstoppable
popularity of peertopeer networks and of millions. of mp files exchanged
every day cannot simply be reduced to the. usual equation 'freeeveryone
wants it'. There is something more. complex and widerranging that makes
neophyte users constantly rack. their brains over how to make hardware and
software mechanisms work. access the 'celestial jukebox'. This is the
instinctive search for. one's own experience of sound everyone's memory of
music which has. found somewhere to begin afresh and reestablish those
neural. connections which produce indelible associations between events
and. tracks and tunes. Unlike any form of 'revival' decided from above by.
publishers the peer and nonprofit network offers large amounts of. original
unmanipulated material which awakens familiar sensations. and brings back
memories. Downloading files compulsively driven by. the mania to take
advantage of an 'open safe' thus means something. more than accumulating
cds full of files without actually having time. listen to them. This
stereotype which is put about by the old. media leads nowhere because it
forgets that everyone lives their. lives intimately surrounded by sounds..
The free exchange of tracks not for gain or smallscale business. seems as
necessary to existence as looking again at certain photos or. re watching
certain films at one's leisure. Fragments that were lost. over time
records lent and never returned and that thanks to. digital swapping turn
up again. Music is in fact contained not only. in the safes of industry or
the dusty ledgers of copyright. associations but in everyone's home via the
myriad cds vinyl discs. and cassettes which together represent an enormous
heritage of music.. Digitizing this heritage although sometimes available
only in. snatches with technical limits means it can take shape so that
it. can reach and satisfy anyone. The very notion of ownership of a music.
product is radically redefined by its changing into something which. is not
material. Apart from reassessing the contents one owns insofar. as they are
merely activators of other exchanges peertopeer. networks are perhaps the
first model of contents 'ondemand' which. has truly worked because it is
negotiated between peers. The notion. of a network has worked splendidly
here since it is others who keep. one's own memory of music.. The reward
is not only 'obtaining' music but also taking part in an. enormous
collective process as happens with a chat room newsgroup. or blog. Sharing
one's files is thus no mere act of generosity or a. gesture that it is
hoped will encourage others to do the same but an. act of participation
proving one is part of a game a process or a. collective performance
intended to liberate sounds and share them. As. John Perry Barlow says
'the more connected we become the more. obvious it is that we're all in
this together'() this is the. culture of the net which is expanding
rapidly rewarding collective. consciousness expressed via the artistic
heritage of musicians and. which lives again in our memory. Basically as
stated by 'Lord of the. Borrowers' a highly active user making available
his Gigabytes of. data 'There are loads of people out there who have no
idea of the. use they could make of their computers ... I think I'm doing
a public. service.'() This is a similar concept to Michael Robertson's
who. had conceived mp.com as a 'service bureau' based on the assumption.
that 'data changes the balance of power'() .. Thus a public service but
selforganized and selfgenerated with. ramifications which whenever pruned
by court action regrow and. thrive more than ever like creatures of myth.
Once started the. sense of community knows no bounds. That was seen in the
spring of. when the RIAA drew up a list of . tracks to be eliminated. the
servers of Napster. Immediately there were groups and single. users who
came up with stratagems that were imaginative to say the. least such as
using the figure '' instead of 'to' or writing the. names of the tracks
backwards or in pig latin or even creating sites. automatically converting
the names into forms which could not be. recognized by the automatic
control mechanisms.() However access to. the files is subject to intrinsic
limits such as the text search for. the name of the artist or track without
taking account of other. used and so on. Yet these limits do not discourage
searching and. sharing in a peertopeer social and socializing practice.
Indeed. one of the most fascinating sides of MP compression technology is.
that its diffusion and direct consequences were not planned at the. outset
but as in the best tradition of informal networks have. expanded
incredibly thanks to ordinary word of mouth. Viewed in the. abstract the
structure of a pc network with a large number of music. files resembles
that of a sort of huge sound machine able to satisfy. most needs. This is
the socalled 'Celestial Jukebox' an ideal. machine able to reproduce
almost any track recorded in the history of. music.. MP.art.. The main
innovation of the MP compression system is that it has. started new
processes both in composition and in the use of music. in line with the
participatory structure of the net. The work of. artists active on the net
hinges on two concepts the ramified. spatial structure of sound information
and the analogies between. music files. 'Tetrasomia' for example is a
project by Stephen. Vitiello starting from four 'cardinal points' of sound
very short. compositions of about a minute and a half each related to
earth. water air and fire the surfer is guided to other sounds on the. net
such as the frequencies from orbiting satellites or the. twittering of
certain birds that live in remote corners of the globe.. The tracks do not
cancel each other out during listening but can be. layered and activated
together form a small crosssection of sounds. the world put into a
personal form. This sound panorama is. possible thanks to a number of
contributions outside the creation of. the artist who becomes a new point
in a network concentrating the. experiences of others. A similar concept
lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file
of addresses. processed into a threedimensional textual structure where the
user. constructs a form of polyphony by making the files sound in a
certain. order.. The artist intends the user to contribute to the work by
pointing to. new addresses and this request for cooperation breaks down
the. traditional barriers between artist and audience. This direct.
interaction mingles the roles of 'creator' and 'user' thus enabling. real
development of ideas which draw their strength from the fact. that they
are created and approved by the public. And the notion of. collective
contribution is also behind 'Collective Jukebox' an. experiment
inaugurated in by Frenchman Jerome Joy whose. intention was to combine the
spontaneous donation of tracks with. public use independently of the limits
of space and time of the. artists involved. Joy's work in fact combines the
infrastructures of. the net with those of traditional art inviting anyone
wanting to. take part to make their tracks available at a publicly
accessible. internet address. Periodically he then organizes and exhibits
them. via a real jukebox with thousands of files which are used in some.
kind of public space such as a museum or caf. Furthermore the. opportunity
for reciprocal interaction opens further chances of. processing carried out
together with others introducing a new social. side into the production of
sound. A musical artifact may indeed be. the result of something done by
more people than those normally in a. band and so open up to an indefinite
number of active participants. who make a significant contribution to the
final product. This. concept is applied to particular advantage in 'Sound
Injury' a. mailing list for electronic musicians which ends interaction
between. members every month with a piece composed collectively. The list.
follows a simple procedure a sound is distributed to all members who.
modify it and then resubmit it to the other participants. The process.
lasts thirty days with all the chaotic intermediate stages until the.
definitive version.. A more playful sort of exchange recasts PeertoPeer
networks as an. easy hiding place for suitably disguised data. In 'Siren's
Voice' by. the media company 'plinq' the user is invited to take part in
the. plot of a story by locating its missing parts hidden in exchange.
networks. The story is structured so that some parts are located in.
networks and which can be recognized by working together which. enables
the story to be completed. These search mechanisms have a. structure of
data flows which only materialize in the minds of those. involved in the
interaction. The antipodes of this approach is the. art of constructing
software showing real images inside the. abstractions that are files and
producing a sort of microscope. showing the normally invisible processes
of the formation of blocks. of digital numbers. 'Minitasking' by German
duo Schoenerwissen. follows this principle working on a particularly large
data flow. generated by the Gnutella network. Coloured 'balls' as the
artists. call them represent the content of the file in size and colour.
bringing out their intrinsic instability by dynamically mapping the. data
involved. MP is now a medium in itself as shown by a number of. media
operations which can easily be defined as performances.. Currently on
PeertoPeer networks intentionally wrong names and. makes the user realize
the fallible nature of 'packages' of. nonmaterial goods.. This approach is
sometimes taken by small labels in search of glory. such as Evolution
Controlled Creations (EEC) who distributed their. tracks by saying they
were unpublished items by Nirvana. The American. record industry lobby
evidently in trouble uses the same detour. approach to discourage the
spread in advance of new longawaited. albums. This has produced companies
like MediaDefender one of whose. services is the sale of the activation of
many simultaneous downloads. of a track on PeertoPeer networks to make it
inaccessible. This. form of conservative opposition is an attempt to make
comprehensible. a phenomenon far too complex and diversified to be so and
which. spreads with no technical obstacles in its path. The quickest net.
language is worm viruses and they have clear effects on the user's.
emotional vulnerability and hardware. Trusting that some music. swappers
might feel guilty in July a hoax group sent out a. communiqu saying that
on July (American Independence Day) all. computers on earth would crash
due to a virus called MusicPanel and. all MP files contained in them with
the five hundred bestknown. tracks would become unusable. Posted on some
newsgroups (including. alt.music.bootlegs) it clearly shows how media
panic can be. instigated and is also a slap in the face of censors who
have used. similar tones when launching their crusades.() This technique
has. been used on other occasions such as when a similar hoax. described a
new worm called 'Bloat' which would supposedly make the. MP files on a hard
disk five times as big.() The useless guilt. feeling instilled by
commercial marketing concerning the free. exchange of sound goods which
have been legitimately purchased brings. with it new forms of cultural
rebellion which come out in unsuspected. ways.. Plagiarism MP is the
message.. Liberalization of music tracks via MP files in PeertoPeer
networks. is a fundamental of a whole artistic scene called plagiarist
which. is another way of saying the free use of sound content in digital.
format. The opposition and enthusiastic support aroused by these. artists
over the years concerns exclusive copyright which is. beginning to waver.
It will inevitably soon dissolve in the face of. the new media and their
technical possibilities of manipulation and. reproduction. Various artists
have shown the paradox of a system. which has gone against its noble
origins as an artistic defence. turning into merely a crutch for the
record industry. As irreverent. jesters of a commercial system blindly
hanging on to its own. privileges the members of the band Negativland have
always been. passionate about sampling 'spoken' material from TV jingles to
radio. talk shows with almost maniacal accuracy in editing and often
manage. show just how obsessive something commercial can be thus.
shortcircuiting our over stimulated attention system. They became. famous
because of a legal challenge which dragged them into a bizarre. sentence
of which they tell the story in their book ''Fair Use The. story of the
letter U and the numeral ' where they also explain the. techniques applied
here. In the band issued on the SST label a. single which had 'U' over
almost all of the cover with a U spy. plane in the background and the name
'Negativland' in small print. while the vinyl contained two parodies with
seconds of a sample of. 'I Still Haven't Found What I'm Looking For'.
Sales figures were not. above the average for the group's other products
i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the
next. album by U themselves. 'Island' U's label at the time demanded. all
available copies be destroyed and . in damages which. Negativland agreed
to pay because they could not afford the costs of. a trial.. The serious
economic repercussions of an episode of this kind became. the symbol of a
battle in which the only weapons available are irony. and sarcasm applied
to the production of culture and transmitted via. a dense network of
exchanges. Negativland became a sort of icon for. the free use of sound
samples and continued their valuable artistic. and political work which is
halfway between art and propaganda. They. also supported other campaigns
such as 'Toywar Lullabies' an album. issued in by the Etoy group of
artists in an attempt to get back. the etoy.com domain which had been
taken away by a large toy company.. Their core idea is that 'copyright
came from the idea that people who. create have to be properly paid for
what they do not that they have. get every possible payment that derives
from it' and as Don Joyce. one of the members of the band says 'any
fragmentary use of someone. else's work should be absolutely free' ().
This is one reason why. net artists .ORG asked Negativland to compose a
piece. for their project 'Glasnost' intended to put out as much public
data. uses samples of a month of private phone calls between the artists.
and others who were unaware of what was happening and brings to the. fore
all the uncertainties everyone has concerning the invasion of. privacy.
Other artists are also aware of the experimental potential. of sampling
and use it to compose such as Canadian John Oswald who. has received the
attention of lawyers representing a major record. company. His sound
collages are full of rapidly changing sequences of. such famous sacred
figures as James Brown and especially Michael. Jackson and the artistic
quality of his editing is never in doubt.. His own definition of this
style is 'plunderphonics' i.e. 'audio. piracy as a compositional
prerogative'. And it was these particular. samples which in led CBS
Records and the Canadian Record. Industry Association to take action
despite the phrase 'Not For. Sale' appearing on the cds and the fact that
they were distributed. free of charge. Nor have the minutely detailed
'credits' on each. album been enough to get the composer out of trouble.
In a subsequent. work called 'Plexure' Oswald attempted to assemble five
thousand. fragments by five thousand famous pop stars changing their names
but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing.
Stingspreen' and working on the progressive speed of the entire. piece.().
'It's a work on the recognizability of information seeing that in. the end
there are so many familiar starting points that the memory. quite
literally gets lost in its own meanderings' as Oswald himself. says
although he regrets that in music 'there is no convention about. putting
in quotation marks as is done when quoting a text'.. Overzealous
bureaucracy aside it really would be twisted thinking. consider these
sound works as a theft of intellectual property. because purchasing the
support on which the original works are. recorded also means purchasing
the right to listen. David Toop an. English journalist and author of
'Ocean of Sounds' stresses that the. purchaser of an album also pays for
the right to ignore the artist's. intentions completely to massacre the
product as much as they like. and to listen in a variety of creative ways
thus changing it. utterly.() The latter is markedly different from what is
commonly. called plagiarism since it is a new reprocessing of the material.
used treating the digital samples as a violinist uses the notes. written on
a stave. This is also the attitude of the label 'Illegal. Art' supported by
media activists RTMark which issued the famous. 'Deconstructing Beck' an
album obtained by sampling and. restructuring tracks by the musician Beck
and obviously alerting the. lawyers of GeffenBMG. Notice of the decision
to sue was sent by. email since the only way of contacting the mysterious
label was an. email address. Even more incredibly BMG did not yet have a
copy of. the cd (. copies had been pressed and quickly sold) and so. based
their demands and threats on the 'word of mouth' echoing around. the
internet.. The next work by Illegal Art was 'Extracted Celluloid' a
brilliant. collage of samples of film music used 'in direct opposition to
the. sound clichs they were taken from'. It is an exemplary work in the.
deconstruction of tunes remembered by most people living in Western.
countries with samples from such soundtracks as 'Titanic' 'Saturday. Night
Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that
digital files are not only a medium for carrying. sound but also political
and social content. An even more outstanding. case in this respect was the
censure of the DeCSS source code. (Descrambling Content Scrambling System)
the industry code. protecting the DVD standard. After a sentence
forbidding its. 'publication' one of the many alternative channels became
an MP. file (decss.mp) in which a voice synthesizer 'sings' the code..
Initially the piece was available as an unpublished track in a free. space
on mp.com and then removed by the company since according to. offensive or
inappropriate'.. The effectiveness of these operations lies in finding
technical. mechanisms which are perfectly legal and which although they
cannot. be attacked show how backward the procedures of institutional.
protection are. Another conceptual hacking is 'Dictionaraoke' a real.
stroke of genius consisting of a collection of over one hundred pop.
classics from the past thirty years sung in perfect artificial. English.
The 'Snuggles' a group of fans of Negativland hosted these. tracks in
which the original lyrics are sung by the pronunciation. tools of the
widely used English dictionaries and encyclopaedias. found online. In
'Don't go breaking my heart' for example there is. a duet between the
'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All
the tracks are noncopyright in free. download and in mp format. The whole
thing not only enables a better. understanding of the lyrics but also
provides valuable instructions. on how to assemble other tracks by oneself
by using this mix of. technologies. This putting together and interfacing
different. techniques thus makes it paradoxical that the operation cannot
be. attacked legally and opens another window onto the overall.
understanding of the uselessness of copyright as currently applied.. It is
the strategic key for the growth of contemporary culture ready. take back
the heritage of music which belongs to it.. Linklist. References. ()
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien
Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig
Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter
funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking'
in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue
Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael
Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e
Nolan. March .. Alessandro Ludovico. distributed via no commercial use
without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture
Wars for the Left. Start of forwarded message. Fwd Article Why the Web
Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article
Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY
TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise
Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing
Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a
lot of worries.. They fear that Grand Theft Auto and other video games will
turn their. kids into crowbarwielding criminals they believe that
Hollywood. will turn their daughters to floozies and sons to gigolos and
they. despise the constitutional barrier between church and state as an.
unnecessary evil that has estranged religious beliefs from public. life
and eroded the core values of our country. Underlying all these. concerns
is the overarching belief that moral relativism which. holds that
competing claims to right and wrong cannot be judged. objectively is
making America a godless bankrupt country and a. very dangerous place to
raise a kid.. With Southern Republicans in control of all three branches
of. government conservative barricades appear well manned. Just one.
justice short of an invincibly reactionary majority on the Supreme. Court
excluding moderate conservatives for seven of the nine. current justices
are Republican appointees and relentlessly. stocking the district and
appellate courts with the most conservative. jurists they can find the
Republicans are pressing a deeply. reactionary social agenda. The culture
wars between the religious. traditionalist right and the liberal pluralist
left have started to. look like a rout everywhere but in the larger coastal
cities.. Conservatives are recasting communities to be more comfortable
with. if not prostrate to received authority in the form of literalist.
interpretations of religious and political texts.. That success will be
shortlived. Long after the next bubble has. burst the internet will have
surpassed the hype generated by the. last one. Not by changing the way we
live and work but by impacting. the culture wars and tipping the battle
decisively to the left.. This will result not from the range of content
available online but. rather the process of finding it. The architecture
of the web and. the way users navigate it closely resembles theories about
the. authority and coherence of texts that liberal deconstructionist.
critics have offered for thirty years. Deconstructionists believe. that
close analysis reduces any text novel statute religious. work to
meaningless blather. The popular response to. deconstruction has always
been that it's counterintuitive that no. one reads that way that it lacks
common sense.. That will change. Like reading or breathing web browsing
itself is. agnostic with respect to politics and culture. Unlike reading
or. breathing however surfing mimics a postmodern deconstructionist.
perspective by undermining the authority of texts. Anyone who has. spent a
lot of time online particularly the very young will find. themselves
thinking about content articles texts pictures in. ways that would be
familiar to any deconstructionist critic. And a. community of citizens who
think like Jacques Derrida will not be a. particularly conservative one..
HTML hyperlinks frames and metatags are the essential building. blocks of
the web. They combine to create a highly associative. endlessly
referential and contingent environment that provides an. expanse of
information at the same time that it subverts any claim to. authority
since another view is just a click away.. These basic technical tools are
similar to deconstructionist. analytical tools. Hypertext markup language
(HTML) provides graphic. display instructions to the web browser. Codes
control the. presentation of each web page including pictures colors fonts
and. the organization of text. Without HTML a web browser would show a.
continuous scroll of plain text. Although HTML is normally. invisible the
viewer can select a viewing option that exposes the. program codes. With
HTML visible the structure of each web page is. laid bare like a theater
with transparent curtains and sets so the. lighting crew scaffolding
director and actors in the wings were all. visible. Hyperlinks which often
appear in underlined blue text. provide the essential connectivity of the
web enabling the user to. jump from one page to another a sort of black
hole through which a. viewer can jump in and emerge in another place.
Framing divides a. web site into separate windows each displayed in a
separate part of. the screen and independently functional. Hyperlinks
connect each. frame allowing the user to move among screens without
leaving the. site. Search engines organize information on the web as well
while. description of and hyperlink to a list of sites ranked by likely.
relevance. In many cases the web page communicates to the search. engine
through metatags which are encoded in the HTML and usually. consist of key
words that provide an associative description of the. site itself.. A
person engages the web in much the same way that a. deconstructionist
critic approaches a text. Deconstruction which. denotes a process rather
than a belief system shows how novels. statutes and court opinions
collapse upon themselves making their. underlying assumptions absurd. For
the deconstructionist each text. is endlessly referential a web of
associations and connections that. is finally ambiguous. The structuralist
critic Ferdinand de Saussure. set the foundation of postmodern thought by
describing language as a. system of signs. Each sign was made up of a
signifier (the word. itself) and the signified (the concept or meaning).
Saussure's. first principle was that such signs are arbitrary. The letters
s. i s t e and r suggest a girl or woman who shares the same parents. as
the referent but the idea of this woman is not linked by any. inner
relationship to the succession of sounds sor which serves as. its
signifier in French. Indeed the woman at issue could as. simply be
represented by another succession of letters or sounds.. For de Saussure
the relationship between the signifier and the. signified was merely
historical and therefore arbitrary. The letters. b o o and k could have
signified a flying animal but were instead. doomed to represent a bound
sheaf of printed papers too rarely. capable of flight. Since each sign
(the word) has meaning only. because it doesn't signify something else
(the actual book) and the. words themselves are arbitrarily assigned
meaning itself is only. relational it cannot be grasped on its own..
Meaning then is not contained or conveyed by a word or series of. words
because it is dependent on what those words do not contain or. convey.
Meaning is part of a process in which words are examined. with respect to
other words which lend meaning only in relation to. other than Tim
BernersLee had heard of the World Wide Web language. looks much more like
a sprawling limitless web where there is a. constant interchange and
circulation of elements.. Deconstructionists advanced de Saussure's work
by detaching the. signifier from the signified and arguing that meaning is
present only. in words that themselves are indeterminate and relational.
Each. word or sign in a sentence is linked to all the others forming an.
infinite or at least inexhaustible network. Every text fiction and.
nonfiction statutes and religious works has a flickering or. suspended
quality its meaning is whatever may be grasped by a. particular reader at
a particular time.. Deconstructionists believe that writing and reading is
a discourse a. kind of open conversation or play through which the reader
pieces. together a meaning by distinguishing one word from another. A.
favorite tactic of such critics is to analyze a detail in the text. until
it unravels the entire structure of the work and renders it. incoherent.
Widelyaccepted interpretations such as the moral. of the story of Exodus
is the inevitable empowerment of repressed. groups come to appear naive.
Indeed the Supreme Court has done. something similar with the th
Amendment. After years as a. curious backwater of the Constitution the th
Amendment now stands. at the center of the Court's jurisprudence the
foundation of the. increasingly broad doctrine of sovereign immunity (a
phrase found. nowhere in the constitution) that is radically broadening
the power. of state government at the expense of both Congress and
citizens at. the same time that it casts doubt upon received ideas about
nearly. every other aspect of the United States Constitution. A.
deconstructionist would not argue that the Supreme Court is right or.
wrong about federalism and state power but only that such radically.
divergent interpretations of the same text indicate that any appeal. to an
authoritative meaning including an investigation into the. intent of the
author (in this case the framers of the Constitution. and Bill of Rights)
will be a misguided and ultimately fruitless. project.. The Web is a
postmodernist tool that inevitably produces a. postmodernist perspective.
It is an unobvious result. After all. social conservatism is the kind of
grassroots movement that the. internet should complement. The Web improves
the coordination of. farflung constituents aiding organization recruiting
and the. dissemination of information while reinforcing beliefs by
increasing. the number of sources with consistent viewpoints.
Conservatives who. have long complained of the liberal bias of the major
media can now. avoid those sources altogether customizing a diet of news
from. likeminded online sources. Cass Sunstein has emphasized the. danger
inherent in what he calls cybercascades where people who. share similar
views communicate only with each other reinforcing. their own perspectives
but precluding exposure to new ones.. There have always been conservative
and liberal newspapers Sunstein. notes but the emerging situation does
contain large differences. stemming above all from a dramatic increase in
available options a. simultaneous increase in individual control over
content and a. corresponding decrease in the power of general interest.
intermediaries. As options multiply intermediaries narrow. If. every
consumer of information creates a daily me which filters all. unpalatable
news and opinions the citizenry will become increasingly. parochial. More
broadly Sunstein worries that cybercascades. will fragment society slim
political and cultural discourse and. clear the shelves and stalls of the
marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on
a theory that. John Stuart Mill first sketched this marketplace sifts and
exposes. the truth and value of competing theories. If the marketplace.
metastasizes into isolated stalls free speech will quickly lose its. value
and the marketplace of ideas will close for lack of customers.. Sunstein's
prophecy is politically neutral the internet will. enervate the
intellectual vigor of all movements by isolating them in. cyber chambers
that echo with cheers and wild applause. There is. every reason to believe
however that the Web will subvert. conservative thought even if
conservatives themselves browse friendly. terrain from family.org to
heritage.org to fedsoc.org. The content. available online is much less
important than the manner in which it. is delivered indeed the way the Web
is structured. Its influence. is structural rather than informational and
its structure is. agnostic. For that reason parental controls of the sort
that AOL. can offer gives no comfort to conservatives. It's not that
Johnny. it's that Johnny will come to think consciously or not of.
everything he reads as linked associative and contingent. He will. be
disinclined to accept the authority of any text whether. religious
political or artistic since he has learned that there is. no such thing as
the last word or indeed even a series of words that. do not link in some
way to some other text or game. For those who. grow up reading online
reading will come to seem a game one that. endlessly plays out in
unlimited directions. The web in providing. link after associative link
commentary upon every picture and. paragraph allows indeed requires users
to engage in a. postmodernist inquiry.. interactive effort one that
despite the intentions of the Biblical. Studies Foundation which operates
the site explodes the authority. of the text. The viewer chooses any of
eighteen different versions. of the bible and then finds a matrix of
hyperlinks organized by. chapter and verse that link to the requested
section. Four frames. provide the biblical text and accompanying
information including. footnotes hyperlinked to other sources with
explanatory material a. hyperlinked index of every other chapter and links
to the Biblical. Studies Foundation's homepage as well as other related
sources. The. site also contains the customary search function which
appears on. the left and of course the internet browser itself has a
search. function that is always visible so that an engaged reader may be.
constantly toggling between biblical text commentary in the. footnotes
word searches suggested by the bible or footnotes or a. combination of
both. Readers unfamiliar with a word may click on the. footnote with a
short definition or synonym. If that is. unsatisfactory typing the word
into the search function will yield a. link to a dictionary of biblical
words terms and phrases that may. offer a more refined and accurate
definition. The reader may be. satisfied and return to the text or pursue
the matter further. needing just two clicks to find the same passage in an
alternative. translation. If the reader is interested in a historical
analysis of. the passage a search for 'biblical history' yields and array
of. relevant academic and religious sites from all perspectives. A. reader
might devote a day to pursuing a single passage a single. line finding
herself farther and farther afield from the original. text and
translation. Indeed she might forget which site she was. reading. Reading
the bible online is an exploration of multiple. sources commentators and
bibliographic tributaries.. Reading any other presumptively authoritative
text online presents a. similar experience. The US Constitution is
available at among other. commentary from wellknown and lesser
authorities. Footnotes provide. short summaries of legislative history and
important court decisions.. A review of the Second Amendment upon which the
entire gun control. debate rests led this reader to twentyfour different
sites each. directly or indirectly linked offering finely spun
phrasebyphrase. analysis. And that was just the first sentence of this
short. amendment. By the time the curious reader returns to the original.
text her head will be cocked back distrustful possibly exhausted.
certainly skeptical if not despairing of any authoritative.
interpretation. Indeed she may come to believe that there is no. That any
such transcendental meaning is a fiction ... is one. consequence of
deconstruction. there is no concept which is. not embroiled in an
openended play of signification shot. through with traces and fragments of
other ideas.... Consider in. our own society Freedom the Family Democracy
Independence. Authority Order and so on. Sometimes such meanings are seen
as. the origin of all the others the source from which they flow. but this
... is a curious way of thinking because for this. meaning ever to have
been possible other signs must already have. existed. It is difficult to
think of an origin without wanting. to go back beyond it.. The Web invites
even demands that its users go back forward around. and elsewhere in an
associative search for meaning. Jonathan Culler. in a discussion of
Barthes writes The text is ceaselessly. traversed by codes which are the
source of its meanings.. Structuralists such as Barthes and
Deconstructionists like Derrida. created a revolution in hermeneutics by
identifying the codes that. inhered in every line of prose. Not long ago
one had to be a. graduate student to grasp the concept. No longer. The
Web. illuminates these codes for everyone to see and much more.
importantly use.. In this light the conservatives' fear of moral
relativism is. wellfounded. Absent some divine authority or lacking any
consensus. about the existence or nature of such authority relativists
believe. that morality is socially determined wholly dependent on
standards. existing in a community at a particular place and time. In a.
pluralist society then there can be no consensus regarding good and. evil.
If it is not quite true that anything goes tolerance dictates. that we must
respect the choices that others make even if they are. repugnant to others
in the community. Samesex marriage under this. view is no more right or
wrong than the traditional variety and we. cannot condemn those who
practice it. Moral relativism is often. considered to be inversely
proportional to the strength of religion.. The prevalence of the former
however has surprisingly little to do. with the decline of the latter.
Religion is hardly in decline at. least in the United States. A higher
percentage of Americans go to. church mosque or temple each week than went
both one and two. centuries ago. By any measure America is the most
religious of all. Western industrialized nations and arguably the most
religious of any. country outside Islam.. Perhaps for that reason
conservatives blame the kind of liberal. elites who tend to congregate in
New York newsrooms and Northeastern. classrooms. These usual suspects
condescend toward religion at the. postmodern theories suggesting that
received beliefs tend to be. arbitrary or selfserving or both. This
argument tends to overstate. both the liberalism and elitism of the
accused along with their. influence and it misses the most powerful and
pervasive source of. moral relativism the Web.. Technology undermines
traditional belief systems even as it creates a. belief in a kind of
heavenly paradise a kind of Technopia. In his. book The Future of Ideas
The Fate of the Commons in a Connected. World Larry Lessig argues for an
open society in which everyone has. access to information and the tools
necessary to contribute to the. community and succeed within it. A former
colleague of. Sunstein's at the University of Chicago who migrated to
Stanford the. very capital of Technopia Professor Lessig believes that the
Web. could create an interconnected information and idearich republic.. He
warns however that unless we balance private ownership of. intellectual
property and the public's ability to refine and build. upon it we will
never inhabit such a place.. Open shared platforms of content and code
must be the foundation of. such a radically free creative and informed
society but an unholy. trinity of Congress the courts and large
corporations has. effectively sealed media and software platforms by
lengthening. copyright laws and strengthening intellectual property
protections.. The most recent example is the Sonny Bono Copyright Term
Extension. Act which extended by years both existing copyrights and
future. copyrights. A copyright grant is a limited monopoly a reward for.
innovation but the reward if too generous (long) will surely. stifle it
for any increase in copyright term strengthens monopolist. practice and
isolates innovation from improvement in much the same. way that Sunstein
fears that cybercascades weaken the dialogue of. democracy. For that
reason Lessig predicts that. ...two companies AOL Time Warner and
Microsoft will define. the next five years of the Internet's life. Neither
company has. committed itself to a neutral and open platform. Hence the.
next five years will be radically different from the past ten.. Innovation
in content and applications will be as these platform. owners permit.
Additions that benefit either company will be. encouraged additions that
don't won't....Content and access. will once again be controlled the
innovation commons will have. been carved up and sold.. If software code
the DNA of the internet is privately held. citizens will be cyberserfs on
corporate estates. There can be no. freedom without commons.
Businesspersons artists and academics must. be free to graze on the rich
field of ideas that lead to further. innovation. In his previous book
Professor Lessig argued that just. as police regulate cities code
regulates cyberspace. If state. police power was the principal concern of
the th century corporate. control of code should be that of the st. Just
as we defeated. Hitler and Stalin the argument continues implicitly so
must we. strike AOL and Microsoft. Corporations wield power invidiously.
veiled by the promise of free markets effectively coopting the.
institutions that should balance public and private ownership.. Lessig
will. For many technologists those who believe that. technology properly
configured will save the planet he is the. muchlauded (and wellschooled)
David against an array of corporate. to increasing the sum and access of
intellectual property online. and as lead counsel for the petitioner in
Eldred v Ashcroft. in which he challenged the constitutionality of the
Bono. Copyright Extension Act Lessig has argued that Congress had.
overstepped the authority vested by the Constitution by essentially.
marching the copyright term toward perpetuity. In January the. Supreme
Court disagreed upholding the act. His fight continues.. Victory will not
elude Professor Lessig though it may surprise him.. A public weaned on the
Web will be increasingly sensitive to the. value of open platforms and the
possibilities inherent in shared. media and code. The increasing ease with
which even moderately. trained musicians mix and sample recorded works and
the resulting. battle between the Recording Industry Association of
America and the. music lovers that support its member companies is just
the first of. many disputes that will reshape copyright law and practice.
Citizens. who are no longer awed by received authority will use the.
instantiations of that authority whether in the form of text. graphics
music or code for their own purposes.. Professors Lessig and Sunstein
sketch despairing visions because they. have missed the essentially
deconstructionist nature of the Web. The. architecture that media and
technology companies control to stifle. innovation and that citizens use
to cordon themselves from genuine. debate will at the same time foster an
open inquisitive and. markedly liberal spirit. Problems associated with
the control of. ideas and the compartmentalization of dialogue will
persist but a. newly emergent majority on the Left will rise to tackle
them. It's. all in the code.. Notes. Ferdinand de Saussure Course in
General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. ..
Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of.
Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist
Poetics. Structuralism Linguistics and the Study of Literature (Ithaca.
Cornell University Press ) discussing Jacques Derrida. Writing and
Difference Alan Bass trans. (Chicago University of. Chicago Press )..
Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ.
Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
S. Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid siden der det var forskjellige bilder med. teksten We are so happy.. We are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn sosialdemokratisk pornokitsch som det der.... Vi må problematisere strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding cows... bjørn .m. noemata Re RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid siden der det var forskjellige bilder med. teksten We are so happy.. We are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt svelgte puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere enn sånn sosialdemokratisk pornokitsch som det der.... Vi må problematisere strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din har bitt postbudet. Du må betale kroner i tort og svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte tråkke rundt på andres eiendom... Vet ikke hva slags. forhold folk. har til monopol om de kan relatere til det som lottokapitalisme tilfeldig. brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen helte olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk waiting for the exploding cows... bjørn .m. Your own Online Store Selling our Overstock.. noemata Fwd PeertoPeer the collective collaborative and liberated memory. of sound.. Start of forwarded message. ReplyTo Alessandro Ludovico. Fwd PeertoPeer the collective collaborative and. liberated memory of. sound.. PeertoPeer the collective collaborative and liberated memory of sound.. Alessandro Ludovico. This text is part of the 'adonnaM.mp Filesharing the Hidden. Revolution in the Internet' exhibition curated by Franziska Nori and. the digitalcraft.org team into the Museum of Applied Arts in. Frankfurt opened to the public from the th of March to the th of. Consumers have very little interest in technology per se. What they. value is what it can actually enable them to do.. Michael Robertson founder of mp.com.. The key to accessing one's own memory of sound.. The unstoppable popularity of peertopeer networks and of millions. of mp files exchanged every day cannot simply be reduced to the. usual equation 'freeeveryone wants it'. There is something more. complex and widerranging that makes neophyte users constantly rack. their brains over how to make hardware and software mechanisms work. access the 'celestial jukebox'. This is the instinctive search for. one's own experience of sound everyone's memory of music which has. found somewhere to begin afresh and reestablish those neural. connections which produce indelible associations between events and. tracks and tunes. Unlike any form of 'revival' decided from above by. publishers the peer and nonprofit network offers large amounts of. original unmanipulated material which awakens familiar sensations. and brings back memories. Downloading files compulsively driven by. the mania to take advantage of an 'open safe' thus means something. more than accumulating cds full of files without actually having time. listen to them. This stereotype which is put about by the old. media leads nowhere because it forgets that everyone lives their. lives intimately surrounded by sounds.. The free exchange of tracks not for gain or smallscale business. seems as necessary to existence as looking again at certain photos or. re watching certain films at one's leisure. Fragments that were lost. over time records lent and never returned and that thanks to. digital swapping turn up again. Music is in fact contained not only. in the safes of industry or the dusty ledgers of copyright. associations but in everyone's home via the myriad cds vinyl discs. and cassettes which together represent an enormous heritage of music.. Digitizing this heritage although sometimes available only in. snatches with technical limits means it can take shape so that it. can reach and satisfy anyone. The very notion of ownership of a music. product is radically redefined by its changing into something which. is not material. Apart from reassessing the contents one owns insofar. as they are merely activators of other exchanges peertopeer. networks are perhaps the first model of contents 'ondemand' which. has truly worked because it is negotiated between peers. The notion. of a network has worked splendidly here since it is others who keep. one's own memory of music.. The reward is not only 'obtaining' music but also taking part in an. enormous collective process as happens with a chat room newsgroup. or blog. Sharing one's files is thus no mere act of generosity or a. gesture that it is hoped will encourage others to do the same but an. act of participation proving one is part of a game a process or a. collective performance intended to liberate sounds and share them. As. John Perry Barlow says 'the more connected we become the more. obvious it is that we're all in this together'() this is the. culture of the net which is expanding rapidly rewarding collective. consciousness expressed via the artistic heritage of musicians and. which lives again in our memory. Basically as stated by 'Lord of the. Borrowers' a highly active user making available his Gigabytes of. data 'There are loads of people out there who have no idea of the. use they could make of their computers ... I think I'm doing a public. service.'() This is a similar concept to Michael Robertson's who. had conceived mp.com as a 'service bureau' based on the assumption. that 'data changes the balance of power'() .. Thus a public service but selforganized and selfgenerated with. ramifications which whenever pruned by court action regrow and. thrive more than ever like creatures of myth. Once started the. sense of community knows no bounds. That was seen in the spring of. when the RIAA drew up a list of . tracks to be eliminated. the servers of Napster. Immediately there were groups and single. users who came up with stratagems that were imaginative to say the. least such as using the figure '' instead of 'to' or writing the. names of the tracks backwards or in pig latin or even creating sites. automatically converting the names into forms which could not be. recognized by the automatic control mechanisms.() However access to. the files is subject to intrinsic limits such as the text search for. the name of the artist or track without taking account of other. used and so on. Yet these limits do not discourage searching and. sharing in a peertopeer social and socializing practice. Indeed. one of the most fascinating sides of MP compression technology is. that its diffusion and direct consequences were not planned at the. outset but as in the best tradition of informal networks have. expanded incredibly thanks to ordinary word of mouth. Viewed in the. abstract the structure of a pc network with a large number of music. files resembles that of a sort of huge sound machine able to satisfy. most needs. This is the socalled 'Celestial Jukebox' an ideal. machine able to reproduce almost any track recorded in the history of. music.. MP.art.. The main innovation of the MP compression system is that it has. started new processes both in composition and in the use of music. in line with the participatory structure of the net. The work of. artists active on the net hinges on two concepts the ramified. spatial structure of sound information and the analogies between. music files. 'Tetrasomia' for example is a project by Stephen. Vitiello starting from four 'cardinal points' of sound very short. compositions of about a minute and a half each related to earth. water air and fire the surfer is guided to other sounds on the. net such as the frequencies from orbiting satellites or the. twittering of certain birds that live in remote corners of the globe.. The tracks do not cancel each other out during listening but can be. layered and activated together form a small crosssection of sounds. the world put into a personal form. This sound panorama is. possible thanks to a number of contributions outside the creation of. the artist who becomes a new point in a network concentrating the. experiences of others. A similar concept lies behind the sound. sculptures of Atau Tanaka who in 'mpq' shows a file of addresses. processed into a threedimensional textual structure where the user. constructs a form of polyphony by making the files sound in a certain. order.. The artist intends the user to contribute to the work by pointing to. new addresses and this request for cooperation breaks down the. traditional barriers between artist and audience. This direct. interaction mingles the roles of 'creator' and 'user' thus enabling. real development of ideas which draw their strength from the fact. that they are created and approved by the public. And the notion of. collective contribution is also behind 'Collective Jukebox' an. experiment inaugurated in by Frenchman Jerome Joy whose. intention was to combine the spontaneous donation of tracks with. public use independently of the limits of space and time of the. artists involved. Joy's work in fact combines the infrastructures of. the net with those of traditional art inviting anyone wanting to. take part to make their tracks available at a publicly accessible. internet address. Periodically he then organizes and exhibits them. via a real jukebox with thousands of files which are used in some. kind of public space such as a museum or caf. Furthermore the. opportunity for reciprocal interaction opens further chances of. processing carried out together with others introducing a new social. side into the production of sound. A musical artifact may indeed be. the result of something done by more people than those normally in a. band and so open up to an indefinite number of active participants. who make a significant contribution to the final product. This. concept is applied to particular advantage in 'Sound Injury' a. mailing list for electronic musicians which ends interaction between. members every month with a piece composed collectively. The list. follows a simple procedure a sound is distributed to all members who. modify it and then resubmit it to the other participants. The process. lasts thirty days with all the chaotic intermediate stages until the. definitive version.. A more playful sort of exchange recasts PeertoPeer networks as an. easy hiding place for suitably disguised data. In 'Siren's Voice' by. the media company 'plinq' the user is invited to take part in the. plot of a story by locating its missing parts hidden in exchange. networks. The story is structured so that some parts are located in. networks and which can be recognized by working together which. enables the story to be completed. These search mechanisms have a. structure of data flows which only materialize in the minds of those. involved in the interaction. The antipodes of this approach is the. art of constructing software showing real images inside the. abstractions that are files and producing a sort of microscope. showing the normally invisible processes of the formation of blocks. of digital numbers. 'Minitasking' by German duo Schoenerwissen. follows this principle working on a particularly large data flow. generated by the Gnutella network. Coloured 'balls' as the artists. call them represent the content of the file in size and colour. bringing out their intrinsic instability by dynamically mapping the. data involved. MP is now a medium in itself as shown by a number of. media operations which can easily be defined as performances.. Currently on PeertoPeer networks intentionally wrong names and. makes the user realize the fallible nature of 'packages' of. nonmaterial goods.. This approach is sometimes taken by small labels in search of glory. such as Evolution Controlled Creations (EEC) who distributed their. tracks by saying they were unpublished items by Nirvana. The American. record industry lobby evidently in trouble uses the same detour. approach to discourage the spread in advance of new longawaited. albums. This has produced companies like MediaDefender one of whose. services is the sale of the activation of many simultaneous downloads. of a track on PeertoPeer networks to make it inaccessible. This. form of conservative opposition is an attempt to make comprehensible. a phenomenon far too complex and diversified to be so and which. spreads with no technical obstacles in its path. The quickest net. language is worm viruses and they have clear effects on the user's. emotional vulnerability and hardware. Trusting that some music. swappers might feel guilty in July a hoax group sent out a. communiqu saying that on July (American Independence Day) all. computers on earth would crash due to a virus called MusicPanel and. all MP files contained in them with the five hundred bestknown. tracks would become unusable. Posted on some newsgroups (including. alt.music.bootlegs) it clearly shows how media panic can be. instigated and is also a slap in the face of censors who have used. similar tones when launching their crusades.() This technique has. been used on other occasions such as when a similar hoax. described a new worm called 'Bloat' which would supposedly make the. MP files on a hard disk five times as big.() The useless guilt. feeling instilled by commercial marketing concerning the free. exchange of sound goods which have been legitimately purchased brings. with it new forms of cultural rebellion which come out in unsuspected. ways.. Plagiarism MP is the message.. Liberalization of music tracks via MP files in PeertoPeer networks. is a fundamental of a whole artistic scene called plagiarist which. is another way of saying the free use of sound content in digital. format. The opposition and enthusiastic support aroused by these. artists over the years concerns exclusive copyright which is. beginning to waver. It will inevitably soon dissolve in the face of. the new media and their technical possibilities of manipulation and. reproduction. Various artists have shown the paradox of a system. which has gone against its noble origins as an artistic defence. turning into merely a crutch for the record industry. As irreverent. jesters of a commercial system blindly hanging on to its own. privileges the members of the band Negativland have always been. passionate about sampling 'spoken' material from TV jingles to radio. talk shows with almost maniacal accuracy in editing and often manage. show just how obsessive something commercial can be thus. shortcircuiting our over stimulated attention system. They became. famous because of a legal challenge which dragged them into a bizarre. sentence of which they tell the story in their book ''Fair Use The. story of the letter U and the numeral ' where they also explain the. techniques applied here. In the band issued on the SST label a. single which had 'U' over almost all of the cover with a U spy. plane in the background and the name 'Negativland' in small print. while the vinyl contained two parodies with seconds of a sample of. 'I Still Haven't Found What I'm Looking For'. Sales figures were not. above the average for the group's other products i.e. . copies. against the millions sold soon afterwards of 'Zooropa' the next. album by U themselves. 'Island' U's label at the time demanded. all available copies be destroyed and . in damages which. Negativland agreed to pay because they could not afford the costs of. a trial.. The serious economic repercussions of an episode of this kind became. the symbol of a battle in which the only weapons available are irony. and sarcasm applied to the production of culture and transmitted via. a dense network of exchanges. Negativland became a sort of icon for. the free use of sound samples and continued their valuable artistic. and political work which is halfway between art and propaganda. They. also supported other campaigns such as 'Toywar Lullabies' an album. issued in by the Etoy group of artists in an attempt to get back. the etoy.com domain which had been taken away by a large toy company.. Their core idea is that 'copyright came from the idea that people who. create have to be properly paid for what they do not that they have. get every possible payment that derives from it' and as Don Joyce. one of the members of the band says 'any fragmentary use of someone. else's work should be absolutely free' (). This is one reason why. net artists .ORG asked Negativland to compose a piece. for their project 'Glasnost' intended to put out as much public data. uses samples of a month of private phone calls between the artists. and others who were unaware of what was happening and brings to the. fore all the uncertainties everyone has concerning the invasion of. privacy. Other artists are also aware of the experimental potential. of sampling and use it to compose such as Canadian John Oswald who. has received the attention of lawyers representing a major record. company. His sound collages are full of rapidly changing sequences of. such famous sacred figures as James Brown and especially Michael. Jackson and the artistic quality of his editing is never in doubt.. His own definition of this style is 'plunderphonics' i.e. 'audio. piracy as a compositional prerogative'. And it was these particular. samples which in led CBS Records and the Canadian Record. Industry Association to take action despite the phrase 'Not For. Sale' appearing on the cds and the fact that they were distributed. free of charge. Nor have the minutely detailed 'credits' on each. album been enough to get the composer out of trouble. In a subsequent. work called 'Plexure' Oswald attempted to assemble five thousand. fragments by five thousand famous pop stars changing their names but. leaving them recognizable e.g. 'Sinead O'Connick' or 'Bing. Stingspreen' and working on the progressive speed of the entire. piece.(). 'It's a work on the recognizability of information seeing that in. the end there are so many familiar starting points that the memory. quite literally gets lost in its own meanderings' as Oswald himself. says although he regrets that in music 'there is no convention about. putting in quotation marks as is done when quoting a text'.. Overzealous bureaucracy aside it really would be twisted thinking. consider these sound works as a theft of intellectual property. because purchasing the support on which the original works are. recorded also means purchasing the right to listen. David Toop an. English journalist and author of 'Ocean of Sounds' stresses that the. purchaser of an album also pays for the right to ignore the artist's. intentions completely to massacre the product as much as they like. and to listen in a variety of creative ways thus changing it. utterly.() The latter is markedly different from what is commonly. called plagiarism since it is a new reprocessing of the material. used treating the digital samples as a violinist uses the notes. written on a stave. This is also the attitude of the label 'Illegal. Art' supported by media activists RTMark which issued the famous. 'Deconstructing Beck' an album obtained by sampling and. restructuring tracks by the musician Beck and obviously alerting the. lawyers of GeffenBMG. Notice of the decision to sue was sent by. email since the only way of contacting the mysterious label was an. email address. Even more incredibly BMG did not yet have a copy of. the cd (. copies had been pressed and quickly sold) and so. based their demands and threats on the 'word of mouth' echoing around. the internet.. The next work by Illegal Art was 'Extracted Celluloid' a brilliant. collage of samples of film music used 'in direct opposition to the. sound clichs they were taken from'. It is an exemplary work in the. deconstruction of tunes remembered by most people living in Western. countries with samples from such soundtracks as 'Titanic' 'Saturday. Night Fever' 'The Wizard Of Oz' and 'Dr. Strangelove'. Yet again. this shows that digital files are not only a medium for carrying. sound but also political and social content. An even more outstanding. case in this respect was the censure of the DeCSS source code. (Descrambling Content Scrambling System) the industry code. protecting the DVD standard. After a sentence forbidding its. 'publication' one of the many alternative channels became an MP. file (decss.mp) in which a voice synthesizer 'sings' the code.. Initially the piece was available as an unpublished track in a free. space on mp.com and then removed by the company since according to. offensive or inappropriate'.. The effectiveness of these operations lies in finding technical. mechanisms which are perfectly legal and which although they cannot. be attacked show how backward the procedures of institutional. protection are. Another conceptual hacking is 'Dictionaraoke' a real. stroke of genius consisting of a collection of over one hundred pop. classics from the past thirty years sung in perfect artificial. English. The 'Snuggles' a group of fans of Negativland hosted these. tracks in which the original lyrics are sung by the pronunciation. tools of the widely used English dictionaries and encyclopaedias. found online. In 'Don't go breaking my heart' for example there is. a duet between the 'voice' of Merriam Webster OnLine and of. Microsoft's Encarta Online. All the tracks are noncopyright in free. download and in mp format. The whole thing not only enables a better. understanding of the lyrics but also provides valuable instructions. on how to assemble other tracks by oneself by using this mix of. technologies. This putting together and interfacing different. techniques thus makes it paradoxical that the operation cannot be. attacked legally and opens another window onto the overall. understanding of the uselessness of copyright as currently applied.. It is the strategic key for the growth of contemporary culture ready. take back the heritage of music which belongs to it.. Linklist. References. () Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. () O'Brien Jeffrey M. 'Would You Download Music From This Man'. Wired . May. () Lessig Lawrence 'The Future of Ideas' Vintage. () berraschung die NapsterFilter funktionieren nicht. () Leopoldseder Hannes Schpf Christine 'Minitasking' in. 'Cyberarts ' Hatje Cantz Publishers. () Hultkrans Andrew 'U Can Sue Sample Simon' Mondo Issue. () Gans David 'The man who stole the Michael Jackson's face'. Wired . February. () Toop David 'Oceano di Suoni' Costa e Nolan. March .. Alessandro Ludovico. distributed via no commercial use without permission. is a moderated mailing list for net criticism. collaborative text filtering and cultural politics of the nets. more info majordomobbs.thing.net and info nettimel in the msg body. End of forwarded message. Make Money Online Auctions Make . or We Will Give You Thirty Dollars for. Trying. noemata Fwd Article Why the Web Will Win the Culture Wars for the Left. Start of forwarded message. Fwd Article Why the Web Will Win the Culture Wars for the Left. ReplyTo CTheory Editors. Article Why the Web Will Win the Culture Wars for the Left. CTHEORY THEORY TECHNOLOGY AND CULTURE VOL NOS. Article Editors Arthur and Marilouise Kroker. Why the Web Will Win the Culture Wars for the Left. Deconstructing Hyperlinks. Peter Lurie. Cultural conservatives in the United States have a lot of worries.. They fear that Grand Theft Auto and other video games will turn their. kids into crowbarwielding criminals they believe that Hollywood. will turn their daughters to floozies and sons to gigolos and they. despise the constitutional barrier between church and state as an. unnecessary evil that has estranged religious beliefs from public. life and eroded the core values of our country. Underlying all these. concerns is the overarching belief that moral relativism which. holds that competing claims to right and wrong cannot be judged. objectively is making America a godless bankrupt country and a. very dangerous place to raise a kid.. With Southern Republicans in control of all three branches of. government conservative barricades appear well manned. Just one. justice short of an invincibly reactionary majority on the Supreme. Court excluding moderate conservatives for seven of the nine. current justices are Republican appointees and relentlessly. stocking the district and appellate courts with the most conservative. jurists they can find the Republicans are pressing a deeply. reactionary social agenda. The culture wars between the religious. traditionalist right and the liberal pluralist left have started to. look like a rout everywhere but in the larger coastal cities.. Conservatives are recasting communities to be more comfortable with. if not prostrate to received authority in the form of literalist. interpretations of religious and political texts.. That success will be shortlived. Long after the next bubble has. burst the internet will have surpassed the hype generated by the. last one. Not by changing the way we live and work but by impacting. the culture wars and tipping the battle decisively to the left.. This will result not from the range of content available online but. rather the process of finding it. The architecture of the web and. the way users navigate it closely resembles theories about the. authority and coherence of texts that liberal deconstructionist. critics have offered for thirty years. Deconstructionists believe. that close analysis reduces any text novel statute religious. work to meaningless blather. The popular response to. deconstruction has always been that it's counterintuitive that no. one reads that way that it lacks common sense.. That will change. Like reading or breathing web browsing itself is. agnostic with respect to politics and culture. Unlike reading or. breathing however surfing mimics a postmodern deconstructionist. perspective by undermining the authority of texts. Anyone who has. spent a lot of time online particularly the very young will find. themselves thinking about content articles texts pictures in. ways that would be familiar to any deconstructionist critic. And a. community of citizens who think like Jacques Derrida will not be a. particularly conservative one.. HTML hyperlinks frames and metatags are the essential building. blocks of the web. They combine to create a highly associative. endlessly referential and contingent environment that provides an. expanse of information at the same time that it subverts any claim to. authority since another view is just a click away.. These basic technical tools are similar to deconstructionist. analytical tools. Hypertext markup language (HTML) provides graphic. display instructions to the web browser. Codes control the. presentation of each web page including pictures colors fonts and. the organization of text. Without HTML a web browser would show a. continuous scroll of plain text. Although HTML is normally. invisible the viewer can select a viewing option that exposes the. program codes. With HTML visible the structure of each web page is. laid bare like a theater with transparent curtains and sets so the. lighting crew scaffolding director and actors in the wings were all. visible. Hyperlinks which often appear in underlined blue text. provide the essential connectivity of the web enabling the user to. jump from one page to another a sort of black hole through which a. viewer can jump in and emerge in another place. Framing divides a. web site into separate windows each displayed in a separate part of. the screen and independently functional. Hyperlinks connect each. frame allowing the user to move among screens without leaving the. site. Search engines organize information on the web as well while. description of and hyperlink to a list of sites ranked by likely. relevance. In many cases the web page communicates to the search. engine through metatags which are encoded in the HTML and usually. consist of key words that provide an associative description of the. site itself.. A person engages the web in much the same way that a. deconstructionist critic approaches a text. Deconstruction which. denotes a process rather than a belief system shows how novels. statutes and court opinions collapse upon themselves making their. underlying assumptions absurd. For the deconstructionist each text. is endlessly referential a web of associations and connections that. is finally ambiguous. The structuralist critic Ferdinand de Saussure. set the foundation of postmodern thought by describing language as a. system of signs. Each sign was made up of a signifier (the word. itself) and the signified (the concept or meaning). Saussure's. first principle was that such signs are arbitrary. The letters s. i s t e and r suggest a girl or woman who shares the same parents. as the referent but the idea of this woman is not linked by any. inner relationship to the succession of sounds sor which serves as. its signifier in French. Indeed the woman at issue could as. simply be represented by another succession of letters or sounds.. For de Saussure the relationship between the signifier and the. signified was merely historical and therefore arbitrary. The letters. b o o and k could have signified a flying animal but were instead. doomed to represent a bound sheaf of printed papers too rarely. capable of flight. Since each sign (the word) has meaning only. because it doesn't signify something else (the actual book) and the. words themselves are arbitrarily assigned meaning itself is only. relational it cannot be grasped on its own.. Meaning then is not contained or conveyed by a word or series of. words because it is dependent on what those words do not contain or. convey. Meaning is part of a process in which words are examined. with respect to other words which lend meaning only in relation to. other than Tim BernersLee had heard of the World Wide Web language. looks much more like a sprawling limitless web where there is a. constant interchange and circulation of elements.. Deconstructionists advanced de Saussure's work by detaching the. signifier from the signified and arguing that meaning is present only. in words that themselves are indeterminate and relational. Each. word or sign in a sentence is linked to all the others forming an. infinite or at least inexhaustible network. Every text fiction and. nonfiction statutes and religious works has a flickering or. suspended quality its meaning is whatever may be grasped by a. particular reader at a particular time.. Deconstructionists believe that writing and reading is a discourse a. kind of open conversation or play through which the reader pieces. together a meaning by distinguishing one word from another. A. favorite tactic of such critics is to analyze a detail in the text. until it unravels the entire structure of the work and renders it. incoherent. Widelyaccepted interpretations such as the moral. of the story of Exodus is the inevitable empowerment of repressed. groups come to appear naive. Indeed the Supreme Court has done. something similar with the th Amendment. After years as a. curious backwater of the Constitution the th Amendment now stands. at the center of the Court's jurisprudence the foundation of the. increasingly broad doctrine of sovereign immunity (a phrase found. nowhere in the constitution) that is radically broadening the power. of state government at the expense of both Congress and citizens at. the same time that it casts doubt upon received ideas about nearly. every other aspect of the United States Constitution. A. deconstructionist would not argue that the Supreme Court is right or. wrong about federalism and state power but only that such radically. divergent interpretations of the same text indicate that any appeal. to an authoritative meaning including an investigation into the. intent of the author (in this case the framers of the Constitution. and Bill of Rights) will be a misguided and ultimately fruitless. project.. The Web is a postmodernist tool that inevitably produces a. postmodernist perspective. It is an unobvious result. After all. social conservatism is the kind of grassroots movement that the. internet should complement. The Web improves the coordination of. farflung constituents aiding organization recruiting and the. dissemination of information while reinforcing beliefs by increasing. the number of sources with consistent viewpoints. Conservatives who. have long complained of the liberal bias of the major media can now. avoid those sources altogether customizing a diet of news from. likeminded online sources. Cass Sunstein has emphasized the. danger inherent in what he calls cybercascades where people who. share similar views communicate only with each other reinforcing. their own perspectives but precluding exposure to new ones.. There have always been conservative and liberal newspapers Sunstein. notes but the emerging situation does contain large differences. stemming above all from a dramatic increase in available options a. simultaneous increase in individual control over content and a. corresponding decrease in the power of general interest. intermediaries. As options multiply intermediaries narrow. If. every consumer of information creates a daily me which filters all. unpalatable news and opinions the citizenry will become increasingly. parochial. More broadly Sunstein worries that cybercascades. will fragment society slim political and cultural discourse and. clear the shelves and stalls of the marketplace of ideas.. Credited to Oliver Wendell Holmes Jr. and based on a theory that. John Stuart Mill first sketched this marketplace sifts and exposes. the truth and value of competing theories. If the marketplace. metastasizes into isolated stalls free speech will quickly lose its. value and the marketplace of ideas will close for lack of customers.. Sunstein's prophecy is politically neutral the internet will. enervate the intellectual vigor of all movements by isolating them in. cyber chambers that echo with cheers and wild applause. There is. every reason to believe however that the Web will subvert. conservative thought even if conservatives themselves browse friendly. terrain from family.org to heritage.org to fedsoc.org. The content. available online is much less important than the manner in which it. is delivered indeed the way the Web is structured. Its influence. is structural rather than informational and its structure is. agnostic. For that reason parental controls of the sort that AOL. can offer gives no comfort to conservatives. It's not that Johnny. it's that Johnny will come to think consciously or not of. everything he reads as linked associative and contingent. He will. be disinclined to accept the authority of any text whether. religious political or artistic since he has learned that there is. no such thing as the last word or indeed even a series of words that. do not link in some way to some other text or game. For those who. grow up reading online reading will come to seem a game one that. endlessly plays out in unlimited directions. The web in providing. link after associative link commentary upon every picture and. paragraph allows indeed requires users to engage in a. postmodernist inquiry.. interactive effort one that despite the intentions of the Biblical. Studies Foundation which operates the site explodes the authority. of the text. The viewer chooses any of eighteen different versions. of the bible and then finds a matrix of hyperlinks organized by. chapter and verse that link to the requested section. Four frames. provide the biblical text and accompanying information including. footnotes hyperlinked to other sources with explanatory material a. hyperlinked index of every other chapter and links to the Biblical. Studies Foundation's homepage as well as other related sources. The. site also contains the customary search function which appears on. the left and of course the internet browser itself has a search. function that is always visible so that an engaged reader may be. constantly toggling between biblical text commentary in the. footnotes word searches suggested by the bible or footnotes or a. combination of both. Readers unfamiliar with a word may click on the. footnote with a short definition or synonym. If that is. unsatisfactory typing the word into the search function will yield a. link to a dictionary of biblical words terms and phrases that may. offer a more refined and accurate definition. The reader may be. satisfied and return to the text or pursue the matter further. needing just two clicks to find the same passage in an alternative. translation. If the reader is interested in a historical analysis of. the passage a search for 'biblical history' yields and array of. relevant academic and religious sites from all perspectives. A. reader might devote a day to pursuing a single passage a single. line finding herself farther and farther afield from the original. text and translation. Indeed she might forget which site she was. reading. Reading the bible online is an exploration of multiple. sources commentators and bibliographic tributaries.. Reading any other presumptively authoritative text online presents a. similar experience. The US Constitution is available at among other. commentary from wellknown and lesser authorities. Footnotes provide. short summaries of legislative history and important court decisions.. A review of the Second Amendment upon which the entire gun control. debate rests led this reader to twentyfour different sites each. directly or indirectly linked offering finely spun phrasebyphrase. analysis. And that was just the first sentence of this short. amendment. By the time the curious reader returns to the original. text her head will be cocked back distrustful possibly exhausted. certainly skeptical if not despairing of any authoritative. interpretation. Indeed she may come to believe that there is no. That any such transcendental meaning is a fiction ... is one. consequence of deconstruction. there is no concept which is. not embroiled in an openended play of signification shot. through with traces and fragments of other ideas.... Consider in. our own society Freedom the Family Democracy Independence. Authority Order and so on. Sometimes such meanings are seen as. the origin of all the others the source from which they flow. but this ... is a curious way of thinking because for this. meaning ever to have been possible other signs must already have. existed. It is difficult to think of an origin without wanting. to go back beyond it.. The Web invites even demands that its users go back forward around. and elsewhere in an associative search for meaning. Jonathan Culler. in a discussion of Barthes writes The text is ceaselessly. traversed by codes which are the source of its meanings.. Structuralists such as Barthes and Deconstructionists like Derrida. created a revolution in hermeneutics by identifying the codes that. inhered in every line of prose. Not long ago one had to be a. graduate student to grasp the concept. No longer. The Web. illuminates these codes for everyone to see and much more. importantly use.. In this light the conservatives' fear of moral relativism is. wellfounded. Absent some divine authority or lacking any consensus. about the existence or nature of such authority relativists believe. that morality is socially determined wholly dependent on standards. existing in a community at a particular place and time. In a. pluralist society then there can be no consensus regarding good and. evil. If it is not quite true that anything goes tolerance dictates. that we must respect the choices that others make even if they are. repugnant to others in the community. Samesex marriage under this. view is no more right or wrong than the traditional variety and we. cannot condemn those who practice it. Moral relativism is often. considered to be inversely proportional to the strength of religion.. The prevalence of the former however has surprisingly little to do. with the decline of the latter. Religion is hardly in decline at. least in the United States. A higher percentage of Americans go to. church mosque or temple each week than went both one and two. centuries ago. By any measure America is the most religious of all. Western industrialized nations and arguably the most religious of any. country outside Islam.. Perhaps for that reason conservatives blame the kind of liberal. elites who tend to congregate in New York newsrooms and Northeastern. classrooms. These usual suspects condescend toward religion at the. postmodern theories suggesting that received beliefs tend to be. arbitrary or selfserving or both. This argument tends to overstate. both the liberalism and elitism of the accused along with their. influence and it misses the most powerful and pervasive source of. moral relativism the Web.. Technology undermines traditional belief systems even as it creates a. belief in a kind of heavenly paradise a kind of Technopia. In his. book The Future of Ideas The Fate of the Commons in a Connected. World Larry Lessig argues for an open society in which everyone has. access to information and the tools necessary to contribute to the. community and succeed within it. A former colleague of. Sunstein's at the University of Chicago who migrated to Stanford the. very capital of Technopia Professor Lessig believes that the Web. could create an interconnected information and idearich republic.. He warns however that unless we balance private ownership of. intellectual property and the public's ability to refine and build. upon it we will never inhabit such a place.. Open shared platforms of content and code must be the foundation of. such a radically free creative and informed society but an unholy. trinity of Congress the courts and large corporations has. effectively sealed media and software platforms by lengthening. copyright laws and strengthening intellectual property protections.. The most recent example is the Sonny Bono Copyright Term Extension. Act which extended by years both existing copyrights and future. copyrights. A copyright grant is a limited monopoly a reward for. innovation but the reward if too generous (long) will surely. stifle it for any increase in copyright term strengthens monopolist. practice and isolates innovation from improvement in much the same. way that Sunstein fears that cybercascades weaken the dialogue of. democracy. For that reason Lessig predicts that. ...two companies AOL Time Warner and Microsoft will define. the next five years of the Internet's life. Neither company has. committed itself to a neutral and open platform. Hence the. next five years will be radically different from the past ten.. Innovation in content and applications will be as these platform. owners permit. Additions that benefit either company will be. encouraged additions that don't won't....Content and access. will once again be controlled the innovation commons will have. been carved up and sold.. If software code the DNA of the internet is privately held. citizens will be cyberserfs on corporate estates. There can be no. freedom without commons. Businesspersons artists and academics must. be free to graze on the rich field of ideas that lead to further. innovation. In his previous book Professor Lessig argued that just. as police regulate cities code regulates cyberspace. If state. police power was the principal concern of the th century corporate. control of code should be that of the st. Just as we defeated. Hitler and Stalin the argument continues implicitly so must we. strike AOL and Microsoft. Corporations wield power invidiously. veiled by the promise of free markets effectively coopting the. institutions that should balance public and private ownership.. Lessig will. For many technologists those who believe that. technology properly configured will save the planet he is the. muchlauded (and wellschooled) David against an array of corporate. to increasing the sum and access of intellectual property online. and as lead counsel for the petitioner in Eldred v Ashcroft. in which he challenged the constitutionality of the Bono. Copyright Extension Act Lessig has argued that Congress had. overstepped the authority vested by the Constitution by essentially. marching the copyright term toward perpetuity. In January the. Supreme Court disagreed upholding the act. His fight continues.. Victory will not elude Professor Lessig though it may surprise him.. A public weaned on the Web will be increasingly sensitive to the. value of open platforms and the possibilities inherent in shared. media and code. The increasing ease with which even moderately. trained musicians mix and sample recorded works and the resulting. battle between the Recording Industry Association of America and the. music lovers that support its member companies is just the first of. many disputes that will reshape copyright law and practice. Citizens. who are no longer awed by received authority will use the. instantiations of that authority whether in the form of text. graphics music or code for their own purposes.. Professors Lessig and Sunstein sketch despairing visions because they. have missed the essentially deconstructionist nature of the Web. The. architecture that media and technology companies control to stifle. innovation and that citizens use to cordon themselves from genuine. debate will at the same time foster an open inquisitive and. markedly liberal spirit. Problems associated with the control of. ideas and the compartmentalization of dialogue will persist but a. newly emergent majority on the Left will rise to tackle them. It's. all in the code.. Notes. Ferdinand de Saussure Course in General Linguistics Wade. Baskins trans. (New York McGrawHill ) ch. .. Ibid .. Ibid.. Terry Eagleton Literary Theory (Minneapolis University of. Minnesota Press ) .. Ibid . See also Jonathan Culler Structuralist Poetics. Structuralism Linguistics and the Study of Literature (Ithaca. Cornell University Press ) discussing Jacques Derrida. Writing and Difference Alan Bass trans. (Chicago University of. Chicago Press ).. Eagleton .. Ibid .. Cass Sunstein republic.com (Princeton Princeton Univ. Press. ) .. ) .
186
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of
Ideas The Fate of the Commons. in a Connected World (New York Vintage Books
) (first. published by Random House ).. Ibid xxixxii.. Ibid xxixxii.. Ibid
.. Lawrence Lessig Code and Other Laws of Cyberspace (Basic. Books ) ..
Ibid.. to increase the sum of raw source material online but also to make.
access to that material cheaper and easier. To this end we have also.
developed metadata that can be used to associate creative works with.
their public domain or license status in a machinereadable way. We. hope
this will enable people to use the our search application and. other
online applications to find for example photographs that are. free to use
provided that the original photographer is credited or. songs that may be
copied distributed or sampled with no. restrictions whatsoever. We hope
that the ease of use fostered by. machine readable licenses will further
reduce barriers to. creativity.). Eldred v Ashcroft Sup Ct . Argued
October. decided January .. Brief for Petitioners Eldred .. Peter Lurie is
a lawyer a graduate of Dartmouth College and The. University of Chicago Law
School where he worked on two independent. papers with Judge Richard Posner
studied critical theory and the. interrelation between law and literature.
He has written for the. New York Press and Shout Magazine. He is also the
cofounder of. Virgin Mobile USA a wireless voice and internet company
aimed at the. youth market where he serves as General Counsel.. The views
expressed are his own.. CTHEORY is an international journal of theory
technology and. culture. Articles interviews and key book reviews in.
contemporary discourse are published weekly as well as. theorisations of
major eventscenes in the mediascape.. Editors Arthur and Marilouise
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ Spooky Paul
D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn Hershman Leeson (San
Francisco) Stephen. Pfohl (Boston) Andrew Ross (NYC) David Cook (Toronto)
Ralph. Melcher (Sante Fe) Shannon Bell (Toronto) Gad Horowitz. (Toronto)
Deena Weinstein (Chicago) Michael Weinstein. (Chicago) Andrew Wernick
(Peterborough).. In Memory Kathy Acker. Editorial Correspondents Ken
Hollings (UK). Maurice Charland (Canada) Steve Gibson (CanadaSweden)..
Editorial Associate Ted Hiebert. To view CTHEORY online please visit. To
view CTHEORY MULTIMEDIA online please visit. CTHEORY includes. .
Electronic reviews of key books in contemporary theory.. . Electronic
articles on theory technology and culture.. . Eventscenes in politics
culture and the mediascape.. . Interviews with significant theorists
artists and writers.. . Multimedia theme issues and projects.. Special
thanks to Concordia University.. No commercial use of CTHEORY articles
without permission.. Mailing address CTHEORY Concordia University de.
Maisonneuve O. Montreal Canada HG M.. Full text and microform versions are
available from UMI Ann Arbor. Michigan and Canadian Periodical IndexGale
Canada Toronto.. Indexed in International Political Science Abstracts.
Documentation politique international Sociological Abstract. Inc. Advance
Bibliography of Contents Political Science and. Government Canadian
Periodical Index Film and Literature Index.. dine venner. End of forwarded
message. Make Money Online Auctions Make . or We Will Give You Thirty
Dollars for. Trying. isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin.
Tenkte å ha et mailart prosjekt hvor ekunstnere kan bidra med å sende inn.
bilder av sine. fingre (eller tær). En fin vri kan være å bruke muligheten
ekunst.no gir. abonnenter til å. laste opp filer til serveren så jeg spør
om lov til å invitere brukere til. dette.. I tilfelle lager jeg en
undermappe der for opplasting sender ut en invitasjon. og ser hva som.
kommer inn. Etterhvert kan det opplastes en indexfil der som et samlet
galleri. over bildene.. Noen notater følger under.. Mvh. Bjørn M..
digitus.facticius. håndarbeid og ny teknologi. Digitus.Facticius
(fingers.factual). digital kunst som håndverk bilder av hender og tær.
manual work.. participatory. digital fetisjisme.. Digital KunstArt
(webgallery). Digitus.Facticius (fingers.factual). Digital Fetishism (new
technology obsessive devotion). Limbic Data (limbic facts). Main Entry
digit. Pronunciation 'dijt. Function noun. Etymology Middle English from
Latin digitus finger toe perhaps. akin to Greek deiknynai to show more at
DICTION. a any of the Arabic numerals to and usually the symbol b. one of
the elements that combine to form numbers in a system other. than the
decimal system. a unit of length based on the breadth of a finger and
equal in. English measure to inch. any of the divisions in which the limbs
of amphibians and all. higher vertebrates terminate which are typically
five in number but. may be reduced (as in the horse) and which typically
have a series of. phalanges bearing a nail claw or hoof at the tip compare
FINGER. TOE a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE.
Function noun. Etymology French Portuguese French ftiche from Portuguese.
feitio from feitio artificial false from Latin facticius. factitious. a an
object (as a small stone carving of an animal) believed to. have magical
power to protect or aid its owner broadly a material. object regarded with
superstitious or extravagant trust or reverence b. an object of irrational
reverence or obsessive devotion. PREPOSSESSION c an object or bodily part
whose real or fantasied. presence is psychologically necessary for sexual
gratification and. that is an object of fixation to the extent that it may
interfere with. complete sexual expression. a rite or cult of fetish
worshipers. FIXATION. hva med et Digital Kunst prosjekt som var et
webgalleri med bilder. bare av fingre og tær (digitus)... og oppfordre
digitalkunstnere til. å sende inn bilder av sine til galleriet. Så får
også digital. fetisjisme en ny betydning... eller 'manual work' ... Vi
kunne kanskje. ha hakket fort sammen en tilhørende artikkel statement og
sendt det. til noen postlister og hatt det som et enkelt
'samarbeidsprosjekt'. ref.. isoQReculturejammersEpningavnyttgalleri. Emne
Står i Subjectfeltet. Relevant for de som skal jobbe med det. Telenor
Tormod kommer forresten (og sikkert andre pamper) så et alternativ er.
gjentrykk nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja
domenet er ledig men p er langt unna n flere. fingre unna men det kan være
logo. Men altså Norges største leverandør av. porno hvor mange titalls
prosent av trafikken så det er klart at Telenor. har interesse i porno.
Stort bilde av sprikende ben som tar imot all trafikk.. Eller en mer
vulgær variant menn er alltid så vulgære. Viste tissen på fly. Dro frem
tissen fly måtte lande. Tissterrorisme Hvis effekten er så stor så kan
blotting være en enkel jamming. flytte blotting over til kultur altfor
lenge har den vært en last hos. psykologene og levd en beskyttet
tilværelse hos de perverse. Dro fram tissen. Valgjerd måtte gå.. Nakne
menn er kanskje dårlig reklame for porno så det kan brukes vi kan anta. at
telenor drar fordel av pornoreklame slik menn 'drar fordel' av telenor så.
bilde av masturberende mann er kanskje bedre og ikke så kult. Vanlig porno
er. vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei
jeg husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof
satte igang noe og Norge. fikk. sin variant anført av rockeren Helge
Gaarder hvor det ble gitt ut plate til. inntekt for Afrika. Uansett
hykleriet gikk over alle støvleskaft og Gaarder. satt igjen med en vond
smak i munnen. Det dukket opp en fin spoof Porno for. Afrika arrangert av
pornokonge Leif Hagen el. med bilde av ei sprikende. dame. som brukte
Afrika til å masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh.
Bjørn M.. hei. fra notatblokken. stedet). noen i cultjamers som driver med
graffiti tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og
kanskje... Dette med identitetfakeid obfuskering og spill med det
kunstnersentriske. fokus kan også være noe å dra inn som tema samt
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje de
unge ville satt pris på noe. som bryter og spiller med hele settingen
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som
også må inkludere galleriet selv som. kunstinstitusjon i tillegg til
kunstneren som 'skaper' (nå er jo det som vises. halvautomatisk kunst
'laget' av hvem). De åpner i teksten også for kunst som. forvirring og
provokasjon og må derfor kunne tåle det selv spesielt siden. institusjonen
er en såpass medskapende del av samtidskunsten.. Forvirret Da er alt i
orden...) Om du kan formidle det videre til elever.... bj.. Re
dadamaskiner og subversive penger. Hei Tage BJ. Blir nysgjerrig på dette.
Men for å være helt ærlig skjønner jeg ikke. hvordan dette verktøyet er
ment å funke. For meg virker dette litt. vanlig blogg ogeller
mailingliste. Har jeg misset noe vesentlig her. P. hei. syns det høres ut
som en god ide (som ide iallfall). jeg hadde en ide om. at noemata kunne
fungere på en lignende måte (engang) som brukerstyrt. prosjektdatabase for
kunst el. men for min del strander det på dårlig evne. eller lyst til
formidling og å få andre engasjert.. en slags sourceforge.net wiki verktøy
for kunst. opensource gjennomsiktig åpen prosess over nett. kan ha
finansiering som organisasjon som fordeler penger videre (som. trafo).
..... men vet ikke hva som vil fungere og ikke hva folk er interessert i.
penger moro kunst action 'suksesskriterier'. ville selv ha likt det mest
mulig enkelt (ting blir komplisert av seg. selv) fx.. admin wikiverktøy på
web (ref wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon
mailmailingliste (alle leser mail). hadde vært veldig interessant om det
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en
simpel presentasjon. Skriver til dere først og fremst for å høre om dere
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for
å høre om dere har noen. tanker. om. hvordan det er mulig å inkludere
flere kritiske kunstnere i prosjektet. og om. dere tror det i det hele
tatt er et interessant verktøy for kunstnere. puh.. T a g e. noemata
wideopen content. hei vesle liste. Har tenkt å åpne noemata og gjøre det
raddikalt åpent tilgjengelige. passord til webftp og til mailkonto etc..
faremomentet med at ting kan bli slettet etc. men det har vel aldri.
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør.
det forsåvidt også nå.. om du har noen meninger om dette så.. og uansett
en anledning til å. laste ned ting hvis du er redd for at de skal bli
sletta.. (hele noemata er på M har selv en backup fra september liggende
et. sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være
interessant.. paradoksalt fører det kanskje til mer distribusjon større
verdi hvis. materialet er utsatt hvis det når som helst kan bli sletta av.
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate
release v. Bj.. Rent DVDs from home.. No Late Fees. Try Netflix for FREE.
For immediate relase for immediate release. FOR IMMEDIATE RELEASE. For
immediate release. a project by noemata. Noemata is a drastic open content
art server meaning anybody can take. part immediately and uninhibited.. The
art part being broadly defined or rather not defined or exactly as. its
diffusion disappearance into context and spectral reemergence. haunting
itself 'I am alive. Am I alive' in a contemporary art. cogito ergo sum
loop the circularity of it of course keeping it alive. though it might be
dead and probably is by the token of its incessant. querying. So it's a
kind of artificial art much like the intelligence. of artificial
intelligence.. The policy is to support collaboration community
transparency immediacy. in the arts net.art media art correspondencemail
art network art. context art or other otherness and marginal
artifactualizations.. We tried that and it didn't work. So this is 'open
content' of a more. catastrophic kind of the dispersal of content or the
metastasis or. disappearance of content (in the jargon of Baudrillard).
Also being. contented with things not working and actually more fascinated
by the. failures and drifting of things than producing them as art or
anything. open being more like cracked open or a core dump of codegerm
artsperm. and their entanglements and confusion of layers inoutside
opencontent. generativedegenerative avataratavar of space time and
structures. intermingling and proliferating more or less on their own by
their own. automatic recursive mating. This 'release' of the server is not
only as. permission or publication but a giving up kind of release. Giving
up. letting it drift distribute or disperse unsupervised and giving up.
that risking complete annihilation any point beyond the loop survival.. In
short this site is handed over to its fate may you live and prosper. by
your own devicing noematic schemes for good and evil. Klas Oldanburg is
elected ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to anybody
like the viral noemata. are selfmating thought objects not objects not
subjectobjects maybe. objectobjects without object (like spamspam without
spam). Requests. problems complaints (eg about spam) may be directed to
the ombudsman. though he may ignore you as this is open content and
discontent.. The noemata server contains material and traces back to of
mail. art kz media fanzine networks up to today's machininc spam
permutation. of nothings in a defaced mesh as proper skinning. You're
invited to add. modify or remove material on the server as part of the
release.. ftp ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to
ombudsman changeable address). mailinglist noemataegroups.com. alias
telemata.net arspublica.com auto.noemata.net. Login via ftp to
downloadeditupload material to the server. Of course. you're encouraged to
download and distribute the material also as backup. in case things on the
server are utterly deleted.. Nominally Noemata is constituted as a group
identity and you're invited. adopt the nym as you please without any
interventions or another nym. associated with noemata in order to further
the dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny
Teknologi The. Norwegian Council of Cultural Affairs Art and New
Technology.. Hosting generously provided by Kunstnett NorgeArtnet Norway..
Thanks to a number of people for supporting the efforts over time..
ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (.
). digest redistribution use. Hi all. I lurk and post some to different
lists and would like to make digests of. things I find. interesting and
redistribute say like nettime unstable digest though. probably. with just
index. remailed with links to web archiveblog to avoid excessive
redundancy.. Question what's the consensus concerning permissions and
redistribution of. texts. appropriate fair use Ask permission in each case
take for granted. In my case no commercial interests involved in
foreseeable future but. anyway. published and. as booksinprogress with
appropriated standard book numbers as an openended. anthology digest.
fanzine or similar.. Notions of copyright and proper use may vary a great
deal so would be. interesting to know what. people on the list thought
about it (also as the list is gatewayed into. newsgroup fa.fictionof.
philosophy). Klash. Re digest redistribution use. Lawrence Upton. Cramer.
Contrary to reading a book reading a website (or EMail) means to. copy its
content bitwise from one machine to another and storing it. locally on the
reader's and other machines (browser cache EMail. folder proxy server
etc.). In digital networks there is no. difference between reading and
distribution a fact which traditional. copyright does not take into
account.. Upton. The law concerns my relationship to the author not the
acts of an. electronic tool the actions of which are my responsibility.
Trying to terse the argument down 'copy' has a lot of meanings this. last
notion of copyright might be copy as verbal especially. . to hear or
receive a radio message as over a CB radio Do you. copy. . copy the mail
CB Radio Slang. See mail (def. ).. Alternatively copyright as a right to
leap from one context to another. in open internet sea. . Also cocky.
Newfoundland. to leap from one ice pan to another. across open water.. A
cite comes to mind maybe leaping but. Hospitality represents a reciprocal
ritualized and theatrical. dimension. Whom are we to receive and how are
we to receive them What. rules should we follow here For we exists solely
to be received and to. receive (not to be known or recognized). This
symbolic dimension is. precisely what is missing from communication in
which the message is. merely decoded never given or received. The message
is passed but. there is no exchange between people. The abstract dimension
of meaning. is transmitted while the aspect of reciprocity is
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal
networks this message probably propagating. hundreds or thousands of news
servers and machines in seconds after. submit. Lots of readers... No
guarantee however that it'll ever 'copy'.. The notion of copyright as
exchange is not unproblematic of course you. could always circumscribe
insert an intermediate machine receiving and. forwarding delaying relaying
the exchange if you want to avoid it. and the authorreceiver line might be
machinic alltogether creating. nihilogues which nobody either writes or
reads. Yes but then do they. exist and who cares Berkeley's 'esse est
percipi' might relate since. there's no fundamentals left only the
perceiving receiving. Who is. perceiving the nihilogues when nobody 'copy'
And are their copyrights. being taken care of by God in the eternal
networks Being is perceiving. receiving copyright a right to be. In short
this copyright means the right to be received not given. since it's
already given and so as guest with due hospitality in the. exchange like
'do you copy do we understand each other' which also. amounts to a mess of
course consensus of mess and taking care of it.. Take care. K.. (btw legal
name Kent MantiesEljot no deception just a mess up of iso. charset and the
eternal Panopticon gaze of the same).. Fwd Call to Artists and other
Regular People (dabble). I would like you to contribute the instruction
pieces and I will carry. (some of) them out in public alley in Boston. ps
please instruct any bugs to me. (this could be nice codeart regularpeople.
recursive calls hang me etc). example. please move any arm like a leg. if
you bump into a wall you're finished. but before completing the gesture.
move a leg just like arm in the example. ))))))). bump end. or some more
advanced structure say nomic metainstructions.. try submit some... a nice
performance would be 'hack me' for interactive dancer hadde ikke. bek
'hacker' her er målet å overskride begrensningene i ..ja du. forstår..
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello
world' musical breakdance asciiart lies down on. broadway. (uhm ge some
sleep...sorry this messg the obvious). the forward. Start of forwarded
message. ReplyTo Kanarinka. Fwd call Call to Artists and other Regular.
People. apologies for cross postings. please forward to everyone. hello
nettime. Please contribute to my new project public alley Boston MA USA.
public alley is an urban intervention (It intervenes right into an. alley
near my house). Recently I have begun exploring questions of. potentiality
play and public space through the creation of. FluxusOnolike scores. In
this project I would like you to contribute. the instruction pieces and I
will carry (some of) them out in public. alley. in Boston.. I would like
to invite you all to take a moment to dream up an. instruction piece for
public alley in Boston MA USA.. Here's how it works. ) You submit an
instruction piece here. ) All instruction pieces are published in the
Gallery of Instructions. ) Then I choose which pieces to enact (and how
many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. BB Fwd Call to
Artists and other Regular People (dabble). I would like you to contribute
the instruction pieces and I will carry. (some of) them out in public
alley in Boston. ps please instruct any bugs to me. (this could be nice
codeart regularpeople. recursive calls hang me etc). example. please move
any arm like a leg. if you bump into a wall you're finished. but before
completing the gesture. move a leg just like arm in the example. ))))))).
bump end. or some more advanced structure say nomic metainstructions.. try
submit some... a nice performance would be 'hack me' for interactive dancer
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what
about a 'hello world' musical breakdance asciiart lies down on. broadway.
(uhm ge some sleep...sorry this messg the obvious). the forward. Start of
forwarded message. ReplyTo Kanarinka. Fwd call Call to Artists and other
Regular. People. apologies for cross postings. please forward to everyone.
hello nettime. Please contribute to my new project public alley Boston MA
USA. public alley is an urban intervention (It intervenes right into an.
alley near my house). Recently I have begun exploring questions of.
potentiality play and public space through the creation of. FluxusOnolike
scores. In this project I would like you to contribute. the instruction
pieces and I will carry (some of) them out in public. alley. in Boston.. I
would like to invite you all to take a moment to dream up an. instruction
piece for public alley in Boston MA USA.. Here's how it works. ) You
submit an instruction piece here. ) All instruction pieces are published
in the Gallery of Instructions. ) Then I choose which pieces to enact (and
how many different versions. to. enact) and those go in the Gallery of
Enactments. Thanks in advance for your participationcollaboration. best
wishes. kanarinka. ps please report any bugs to me. nettimeann mailing
list. nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det
har. begrensninger fordi planter har røtter. å slå seg til ro blir
analogt. med å slå seg til rot for å vokse bedre. menneskebilde
plantebilde.. dessuten må det komme som en stadig overraskelse at
mennesker dør så. plutselig skulle de ikke heller bare visne bort og alle
raske. forandringer er av det onde elektroner må være små demoner hva med.
fotoner fotosyntese sola de er gode. i det hele tatt vi har for stor. makt
til å være planter trær som vokser bøker som kultiverer uendelig. vi har
bokbål virus bomber knapper å trykke på maskiner. vekst. joda men vi er
mennesker ikke planter og innimellom der dyr og da. er ikke mineralene
engang nevnt før nå. og hva med sjelen og ånden. vekst liv og død
eksistens sædcellen som kom på andreplass idrett. de dramatiserer
overlevelse håndballandslaget raider nabostammen de. vokste ikke sammen.
alt eksploderte det er en slags vekst. plancks. konstant bærekraftig
utvikling. og utvikling to bilbomber utviklet. seg utenfor ambassaden.
mennesket er alle tings mål ikke plante ikke. eksplosjon fenomener har
forskjellig hastighet størrelse samfunnet. er større enn hver enkelt og
dermed treigere mer likt planter mens. grupper av mennesker er mer som dyr
dummere men sterkere. i andre. retningen er ånden som et elektron og ser
for seg atomeksplosjonen som. den høyeste religiøse forening sin skaper
sola big pangpang. lenger. framover er lenger bakover større fart er
større avstand mindre er. større forestillingene er speil når du ser foran
deg ser du bak deg. som når du ser utover ser du bakover.. Re the art of
the book. a call out for help on the poetics list. i only know that i want
to define it as a. place where the book transcends its two
dimensionalityboth literally and. figuratively.. i posted a suggestion for
a book publishing scheme a few days ago which. might be considered book art
at least in some senses. bjorn. A session with Etaoin Shrdlu. A session
with Etaoin Shrdlu. Winograd Place the red ball inside the cube. Etain
Shrdlu What. Place the red ball inside the cube. I heard. So. It sounded
like something from 'Wizard of Oz' it got me thinking. Fine. Place the
heart inside your chest. Ok. Are there any white things. White things are
white. Are there white things on the ground. I'd call it snow. It's in the
air too you'd say it's whiting. The blue stick is called 'shuffle'. You're
mad I'm not touching it. Pick up the cross. Go to hell. What is. Are you
trying to pick me up with analytics. What is politics. In the white cube.
What else is in the white cube. Nothing. Where are the weapons of mass
destruction. Artificial intelligence. God bless America. I don't
understand. The first International Robot Day feb. On Terry Winograd's
Etaoin Shrdlu ' AI system. Code and its Double (in relation to brain
asymmetry). Code and its Double (cont'd). Codework in relation to brain
asymmetry and neuropsychology. The results of studies of nonhuman species
show that lateral. asymmetry is a property not unique to humans. The
demonstration of. asymmetry in nonhuman brains implies that asymmetry in
the human. brain is directly related neither to handedness nor to language
but. rather to analysis of sensory information and control of movement..
Comment Asymmetry is at the code level processing information in. double
modi.. Brain asymmetry summary From these basic ideas about distinct.
functions of the two hemispheres has arisen the idea that the. hemispheres
represent two distinct modes of cognitive processing (see. Springer and
Deutch).The left hemisphere operates in a more.
logicalanalyticalcomputerlike fashionanalyzing stimuli input. sequentially
and abstracting the relevant details to which it attaches. verbal
labels.The right hemisphere is primarily a synthesizermore. concerned with
the overall stimulus configurationand organizes and. processes information
as gestaltsor wholes.. Comment Brain asymmetry correlations to codework
jot version. Left hemisphere time analysis language symbol code text.
instruction execution ...... Right hemisphere space synthesis matter data
ambience. context surface code diffusion ...... Laterality leads to the
notion that two different minds control our. behavior.. Comment Which
doesn't mean they can be separated. Code's double are. the twofold of
information processing time and spacebased which. correlates to code as
languageformatives and code as matterform. or again as instruction and
data in the interpreting machine.. The left hemisphere plays a special
role in producing and. understanding language.. whereas the right
hemisphere specializes in. perceiving and synthesizing nonverbal
information... Comment Code and its double as text and context or as
other. traditional dichotomies activepassive lightshadow orderchaos. the
onethe other intelligencemonster etc. which is also reflected. in the
traditional meaning of sinister as left ie. righthemisphere.. Stimulation
can produce what Penfield called interpretive and. Stimulation can produce
what Penfield called interpretive and
187
experiential responses.These uncommon but often highly reliable. phenomena
include alterations in the interpretation of the patients.
surroundingssuch as deja vufearand dreaming states and the. reproduction
of visual or auditory aspects of specific earlier. experiences.That
patients report specific memories in response to. specific stimulation.
These phenomena usually arise from tissue. showing epileptogenic
dischargebut there is an asymmetry in their. occurrencestimulation of the
right temporal lobe produces these. phenomena more frequently than does
stimulation of the left temporal. lobewhich suggests that the right
hemisphere has perceptual functions. not shared by the left.. The Kimura
experiments imply that the left hemisphere is specialized. for processing
languagerelated soundswhereas the right hemisphere. processes musicrelated
sounds.There ishoweveranother. interpretation.It is possible that the
asymmetry is related to the. temporal or spectral structure of the sounds
their rhythm and. frequency rather than to language and music
themselves.Considerfor. examplethe finding by Papcun and colleagues. They
showed that. Morsecode operators have a rightear superiority for the
perception. of the codeeven though the sounds are distinguished only by
their. temporal structure.. Comment The temporal is on the code source
side of running code. executables performatives which refracts into space
code matter. spectrum specters. There's no fundamental difference like
instruction. is also data but of interpretation processing speed
frequencies. and like the continuum of spacetime.. Rudel and coworkers
found that both blind and sighted subjects read. Braille more rapidly with
the left hand.Some children are actually. fluent readers with the left hand
but are totally unable to read with. the right.Because Braille patterns are
spatial configurations of dots. this observation is congruent with the
proposal that the right. hemisphere has a role in processing spatial
information that is not. shared by the left.. Comment Code and its double
ar both active both coded though the. former often is interpreted as
instruction and the latter as data. or light and shadow.. Table. Summary
of data on cerebral lateralization. Function Left hemisphere Right
hemisphere. Visual system Letters words Complex geometric patterns. Faces.
Auditory system Languagerelated Nonlanguage environmental sound. sound
Music. Somatosensory Tactile recognition of complex. system patterns
Braille. Movement Complex voluntary Movements in spatial patterns.
movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody.
Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of
direction. Mental rotation of shapes. Several authors (for
exampleEfron)have suggested that it is not. motor control itself that is
located in the left hemisphere but rather. the capacity for the fine
resolution of stimuli in time.. Comment Which is again to state code's
inseparability in spacetime. as speed and matter running code and output..
Zatorre proposed that the auditory cortices in the two. hemispheres are
therefore specialized such that temporal resolution is. better in the left
and spectral resolution is better in the right. auditory areas.. Comment Or
again like the theater and its double as time and spectrum.. Rather than
specifying different processing of specified. psychological processesother
specialization models focus on the. idea that the two hemispheres might
process information in distinctly. different ways.. Comment Which is
basically code and its double.. The first clear proposal of different
information processing was. made by Josephine Semmes in .On the basis of
the results of her. previous studies of World War II veterans suffering
from penetrating. brain injuriesSemmes concluded that the left hemisphere
functions as. a collection of focalized regionswhereas the right
hemisphere. functions more diffusely.. Comment No comment.. A large lesion
of the right hemisphere produces many more. deficits than would be
predicted from the total of smaller lesions. because an entire functional
field is removed.A large lesion of the. left hemisphere produces many
deficits simply because many small focal. regions have been destroyed that
isin the left hemisphere the total. is equal to the sum of the parts.
Semmes proposed that this. differential organization of the two
hemispheres is advantageous for. efficient control of their respective
functions.The diffuse. organization of the right hemisphere is seen as
advantageous for. spatial abilitiesbecause spatial analysis requires that
different. sensations (visualauditory tactile)be integrated into a single.
percept.Language functionsin contrastremain discrete individual. units in
the left hemisphere.. Comment Code and its double creates and maintains
different domains. different magnitudes and spectrums of frequencies..
People use the word sinister as a synonym for wicked or. evil.Originally a
Latin word meaning lefthand sideour contemporary. English meaning implies
that lefthandedness has been historically. viewed at best as strange or
unusual.. Comment Which is to say that code's double has its own
intelligence. far from being dead output from executions.. At least six
significant behavioral differences are sex. relatedverbal ability
visuospatial analysismathematical. abilityperceptionmotor skillsand
aggression.Although the precise. causes of cognitive sexrelated
differences are unknownbiology likely. plays a part.Consider the following
dataRichard Harshman and his. associatesin a very ambitious study of the
interaction of sex and. handedness in cognitive abilitiesfound a
significant interaction. between sex and handednessthat issexrelated
differences in verbal. and visuospatial behavior vary as a function of
handedness.(Recall. that Witelson found that callosal size also varies by
sex and. handedness.)It is difficult to imagine how biological or
environmental. factors alone could account for this result.It is thus very
plausible. account for sexrelated differences partly by neurological.
factors that may be modulated by the environment.. Comment Introducing
gender issues in codework.. In an analysis of reading skillsDennis and her
coworkers found that. both hemispheres had almost equal ability in
higherorder reading. comprehension howeverthe left hemisphere is superior
to the right in. reading and spelling unfamiliar words and in using
sentence structure. achieve fluent reading. The left hemisphere also reads
prose. passages with greater decoding accuracy more fluencyand fewer
errors. that violate the semantic and syntactic struc ture of the.
sentence.The superiority of the left hemisphere seems to be its. ability
to manipulate and exploit language rules.Yet the right. hemisphere is not
without its strengths in language.Performance is. better with the right
hemisphere in a task that requires learning an. association between
nonsense words and symbols.. Comment Parsing and (re)integration of code
code working on code. as instruction or data data as instruction or
instruction as data.. In summarizing the results of studies on
languageDennis suggests. that if written language structure is thought of
as a combination of. meaning cues (morphology)sound cues (phonology)and
picture cues. (logography) then the isolated left hemisphere will show
superior. performance with morphology and phonology and inferior
performance. with logographic cues.The isolated right hemisphere will show
superior. performance with logographic cues and inferior performance with.
morphological and phonological cues. Kohn and Dennis found an almost.
analogous pattern of results on tests of visuospatial function.They.
observed thatalthough patients with right hemispherectomies. performed
normally on simple tests of visuospatial functions such as. drawingthey
were significantly impaired on complex tests such as. negotiating a maze
and reading a map.. Comment The time of code and space of its double.. To
summarizeeach hemisphere can assume some of its opposite s. functions if
the opposite hemisphere is removed in he course of. development but
neither hemisphere is totally capable of mediating. all of the missing
hemispheres functions.Thusalthough the. developing brain gives evidence of
considerable plasticitythere is. convincing evidence against
equipotentiality both hemispheres appear. have a processing capacity that
probably has an innate structural. basis.. Comment Which is to state
code's doubleness the interweaving of. different processing interpreted
instruction or data for each other.. All models of cerebral development
must answer he question of how. functions become restricted to one
hemisphere rather than becoming. bilateral. The interactive
paralleldevelopment hypothesis answers. that question. In a series of
papersMorris Moscovitch emphasized the. possibility that one hemisphere
actively inhibits the otherthus. preventing the contralateral hemisphere
from developing similar. functions. This active inhibition presumably
develops at about age. as the corpus callosum becomes functional. as
inhibitor. Comment In regard to codework the corpus callosum is the
mediator. and inhibitor of code from its double and occupies the border
between. sense and surface time and space source code and code source
speed. and matter and assures their workings by inhibiting selfreference.
(code as nothing) and decoding (of the double) producing meaning and.
remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan
Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry.
Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly
don't have time for a long reply I just got back from a. conf. with
messages I have to deal with not spam. But if you look at. Kristeva's
Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror
especially the unabridged Fr. version and a great deal of this. is a
combination of psychoanalytics and semiotics which she employs as. well.
This can be combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't
have time for a long reply I just got back from a. conf. with messages I
have to deal with not spam. But if you look at. Kristeva's Revolution in
Poetic Language you'll see a lengthy treatment of. Maldoror especially the
unabridged Fr. version and a great deal of this. is a combination of
psychoanalytics and semiotics which she employs as. well. This can be
combined with Eco. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco
and all such semiotic models of language. reductionist. Where does a text
like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of
the insane Language is not only about signals. (Eco's signfunctions) and
their corresponding behavioral responses. There. is a form of dark matter
in language that never gets touched upon by. semiotics. It is where
signals get crossed elided broken down and too. often dismissed in
semiotics as gibberish or noise. Eco's approach is good. for analyzing
highclass linear detective novels like the ones he writes. but it falls
apart on texts that don't make the rage of interpretation their. goal.
Like all models of the world semiotics fits some things well and. other
things badly and the things it fits badly happen to be precisely the.
things I care most about right now in the making of art. Maybe somebody.
could propose a new nonlinear model of semiotics or better a chaotic one.
that would extend the field into a place that might be interesting. But.
Eco's views on language are too restrictive for me and don't carry me to.
the places I want to go.. Greimas deals with a much wider range of issues
than semiotics in his work. and I prefer him to Eco. Even so there is
still much in the making of art. that Greimas doesn't take into account.
(Not that I can recall anything. specifically that I could critique off
the top of my pointy little head. .. .) Linguistics still only skims the
surface of art's deepest concerns so I. guess the question is should an
artist be content with merely skimmed. surfaces Or should he dive headlong
into the deep waters where theories. fear to tread I guess some of us are
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse
speaking for myself despite my wooden leg.. I am taking a breather here to
let others get into the conversation if they. wish. Feel free to tear me to
pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic
Language (from Art in. Theory ). A materialist foundation to dialectical
logic a theory of signification. based on the subject his formation.. to
perceive a signifying practice which. although produced in language is
only intelligible through it.. attests to a. 'crisis' of social
structures... For the capitalist mode of production produces and
marginalizes but. simultaneously exploits for its own regeneration on of
the most spectacular. shatterings of discourse.. can also integrate their
process qua process. As. art this shattering can display the productive
basis of subjective and. ideological signifying formations a foundation
that primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just
got back from a. conf. with messages I have to deal with not spam. But if
you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy
treatment of. Maldoror especially the unabridged Fr. version and a great
deal of this. is a combination of psychoanalytics and semiotics which she
employs as. well. This can be combined with Eco. You'd have to look at the
book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it
and I find Eco and all such semiotic models of language. reductionist.
Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where
do the texts of the insane Language is not only about signals. (Eco's
signfunctions) and their corresponding behavioral responses. There. is a
form of dark matter in language that never gets touched upon by.
semiotics. It is where signals get crossed elided broken down and too.
often dismissed in semiotics as gibberish or noise. Eco's approach is
good. for analyzing highclass linear detective novels like the ones he
writes. but it falls apart on texts that don't make the rage of
interpretation their. goal. Like all models of the world semiotics fits
some things well and. other things badly and the things it fits badly
happen to be precisely the. things I care most about right now in the
making of art. Maybe somebody. could propose a new nonlinear model of
semiotics or better a chaotic one. that would extend the field into a
place that might be interesting. But. Eco's views on language are too
restrictive for me and don't carry me to. the places I want to go..
Greimas deals with a much wider range of issues than semiotics in his
work. and I prefer him to Eco. Even so there is still much in the making
of art. that Greimas doesn't take into account. (Not that I can recall
anything. specifically that I could critique off the top of my pointy
little head. .. .) Linguistics still only skims the surface of art's
deepest concerns so I. guess the question is should an artist be content
with merely skimmed. surfaces Or should he dive headlong into the deep
waters where theories. fear to tread I guess some of us are Ahabs and some
of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself
despite my wooden leg.. I am taking a breather here to let others get into
the conversation if they. wish. Feel free to tear me to pieces if you wish.
m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in.
Theory ). A materialist foundation to dialectical logic a theory of
signification. based on the subject his formation.. to perceive a
signifying practice which. although produced in language is only
intelligible through it.. attests to a. 'crisis' of social structures...
For the capitalist mode of production produces and marginalizes but.
simultaneously exploits for its own regeneration on of the most
spectacular. shatterings of discourse.. can also integrate their process
qua process. As. art this shattering can display the productive basis of
subjective and. ideological signifying formations a foundation that
primitive societies call. 'sacred' and modernity has rejected as
schizophrenia.. point to the very. process of signifiance. Magic..
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the
subject and his communicative structures.. If there exists a 'discourse'
which is not a mere depository of thin. linguistic layers.. or testimony
of a withdrawn body.. and instead.. a. practice..the sum of unconscious
subjective.. in gestures of confrontation and. appropriation destruction
and construction productive violence in short. .. it is the text.. The
text is a practice that could be compared to political revolution.. We.
shall call this heterogeneous practice signifiance to indicate on the one.
hand that biological urges are socially controlled directed and organized.
producing an excess with regard to socially apparatuses and on the other
hand. that this instinctual operation becomes a practice a transformation
of. natural and social resistances limitations and stagnations if and only
if. it enters into the code of linguistic and social communication.. What
we call signifiance then is precisely this unlimited and unbounded.
generating process this unceasing operation of the drives towards in and.
through language towards in and through the exchange system and its.
protagonists the subject and his institutions. This heterogeneous process.
neither anarchic fragmented foundation nor schizophrenic blockage is a.
structuring practice a passage to the outer boundaries of the subject and.
society. Then and only then can it be jouissance and revolution.. Some
comments. what I understand what Kristeva terms a 'practice' of 'text'
amounts. somewhat to Sondheim's 'codework' (almost literal the working of
code. coding of work). It is codework if and only if it enters into the
code of. lingustic and social communication otherwise maybe as 'workcode'
it is. 'signifiance' the making meaning and crisis in the structure of
'text'.. 'Text' is composed of signifiance and practice which are two
sides like the. working of code (signifiance) vs. coding of work
(practice).. My understanding of Eco from the earlier post. Eco A sign is
always an element of an expression plane CONVENTIONALLY. CORRELATED to one
(or several) elements of a content plane.. A codesign is always an element
of an expression plane CODIFIED to one (or. several) elements of a content
plane.. Sign is convention codesign is interpretation or as. Signs have
automatic interpretations.. Codesigns have problematic conventions..
Codesigns are unconventional interpreted signs.. In my understanding of
Eco and Kristeva. What Eco calls 'conventionally correlation' in the
signification is the same. as 'codify' where the conventions are
problematic interpretative it's still. the same signification process
going on but of different complexity.. And an important thing the
'conventional correlation' isn't this just the. signification process
again in case Eco is actually defining the sign. recursively loopy which
would fit in with Kristeva's notion and which was my. point to say in the
earlier Eco response that the 'sign' is purely virtual. it never takes
place the expression plane never meets the content plane the.
'conventional correlation' is a chasm or synapse or bridge and where all.
the Kristeva shattering break in or is transmitted or runs under. Eco's
sign. is never complete the problem is the 'conventional correlation'
which is the. sign itself so it never ends. Codework and Kristeva's
practice of text is. working in that loophole it's a vertical chasm and
crisis in the more. horisontal networks of significations. In short then
the sign is open and. codework is wryting it.. In relation to what I
called code and its double the double would be the. vertical plane (chasm
shadow code) to the horisontal plane (surface. figure double). Yes I
inverted that on purpose in a way the double is the. residue which is the
sign a mere product a doubling of the code which is. the shadow. The sign
is virtual a doublenature of expression and content. which is never
complete and the code is the stuff making up the chasm between. and also
making the sign (code then is the virtuality of the sign) as all. signs
are coded and can not be decoded or the sign would be like nothing.. In
another view the sign is the double and the code is nothing the sign is.
something while code is nothing which would be both's virtuality and.
signifiance. In reality it is opposite sign is nothing and code is.
everything which is their practice.. So maybe it turns out that 'code and
its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and
'practice' of 'text'. signifiance double. virtuality of code (code is
doubled into sign) and practice nothing reality. of code (sign is
'doubled' into nothing reversed) maybe what Charles Baldwin. called the
doubleness's double.. And what about the analogy of brain asymmetry in
this It would simplify to the. left hemisphere doing significations and
the right doing practice. The. sinisters are revolutionary in Kristeva's
sense ) The signifiance of the. left's symbolmachine's unlimited and
unbounded generating process through. language and the heterogeneous
process of the right is a structuring. practice a passage to the outer
boundaries of the subject and society. The. timespacebias of leftright
would be the unceasing operations of running. code (time) becoming a
practice a transformation of natural and social. linguistics limitations
stagnations (space). Maybe pushing the analogy too. hard but the asymmetry
suggests a slightly different processing or texting. into signifiancecoding
maybe extrapolating that the right is more. codedmattered and the left more
signifieddialectical. And so on ad. absurdum.. Did I understand this Well
it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art
in Theory book well neither was Peirce. so they're more into linguistic and
language philosophy while Kristeva's. rhetoric into art and the
revolutionary side which could be another way of. stating the notion of
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial
use without permission. is a moderated mailing list for net criticism.
collaborative text filtering and cultural politics of the nets. more info
majordomobbs.thing.net and info nettimel in the msg body. Re codework
(KristevaEco). language is the mechanism whereby you understand what i'm
thinking better. than i do (where 'i' is defined by those changes for
which i is required).. i an interface of signifiance over our shattered do
(where i. mediates sign and fiance (which is double itself (signifiance
(all parents. are married to their children (i am the priest (the
conventional and virtual. (of the chasm (like every convention is exactly
the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ).
). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a
very interesting read it blows my mind to. see that the things are still
the same and humbly that my simple. exposition of Eco's sign as
paradoxical based only from Al's short. cites actually is traceable back
to Aquinas (maybe cascading from actus. purus and prima materia finally)..
In addition your article proves to me that a careful logic intuition.
sparse material also can be enough to get into the core of things. without
the proper acacemical frameworks in support. But that's the joy. of
philosophy.. I'm grateful for all the connecting references I'm commenting
short. some from my understanding of Eco posted earlier which might seem.
cryptic without the frameworks for clarification and confirmation. Bjorn.
Charles Baldwin. The inarticulate cry which seemed to be the voice of
light. Hermes. Trismegistus. (the conventional and virtual (of the chasm
(like every convention is. exactly the chasm))). Refering to the
convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas
was precisely the answer to how formal. systems participate with the world
an answer that deals with both the. grounds and the exteriority of sign
systems. That is codework was. already the issue though under the guise of
aesthetics rather than code. aesthetics in the older sense of sensation
aisthesis and not. aesthetics in the sense of codified responses or
artistic forms or. rather in the sense of the ground of these
responsesforms. (I've. discussed this elsewhere in relation to code
aesthetics.). Comment Which maybe boils down to time and space like in
the. Kantian sense of aesthetics and which then links to the recent.
discussion here temporalspatial stuff.. The working out of all this is the
notion of manifestation a quasi. mystical translation between
proportionalities enabling the whole. system. (I think here of the
relation between code and AS's notion of. plasma.).. Comment The 'ether'
of prerelativistic physics as the carrier. The. virtual underlying part
needed to get the system going at all.. The paradox here (Panofsky gets
this too but it's crucial to Eco's. semiotics) is the notion that
manifestation will clarify faith clarify. the underlying participation in
being but in doing so will finally. clarify faith (bring it to an end).
This impossible need for. exemplification leads in Panofsky's terms to the
POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I
think it's. possible to see in Eco precisely this paradox enabling
semiotics as an. intraformal economy of proliferating signs. Everything
must be. clarified made into as sign but (also) there always remains some.
unclarity guaranteeing a kind of momentum from being to sign.. Elaboration
i.e. the structures of signs systems arises from. clarification. Semiotics
is clarification not in any particular sign. but in semiotics itself as the
residue of clarification.. Comment Interesting I refered to the virtuality
of the sign (its. impossibility) argued for via the recursivity of Eco's
definition of the. sign ie its paradox endlessness and from that the
relation between. sign and residue code and double and nothing etc. Eco
and information. theory have an understanding of recursivity and
selfreference (via the. speed of light of computers) in another sense than
for Thomists for who. these problems would seem paradox (and evil).. what
degree is Eco's semiotics a concealed continuation of a Thomist.
aesthetics Read across the trajectory of Eco's work from the earliest.
text through the Theory of Semiotics every sign is a ghost emanation. of
being. Beyond this there's another related but different history.
explaining how the whole thing is staged rhetorically dissolving. being
into performance but that's probably enough for now.. Comment This all
seems to resonate with my simple understanding but. maybe cryptic form
also allowing the Kristeva operations on text to. take place maybe in the
ghost emanations from the virtuality of the. sign and the reality of the
code. From my view if would also be. interesting to know if the rhetorical
staging into performance would. be similar to the idea of code as nothing
and how the whole business. dissolves itself.. Interesting reading keep on
by all means.. Re codework (KristevaEco) (fwd). language is the mechanism
whereby you understand what i'm thinking better. than i do (where 'i' is
defined by those changes for which i is required).. i an interface of
signifiance over our shattered do (where i. mediates sign and fiance
(which is double itself (signifiance (all parents. are married to their
children ('i' am the priest (the conventional and. virtual (of the chasm
(like every convention is exactly the chasm (that's why. (that's 'why'
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework
(KristevaEco). Some more conflation on the reversingirreversing
virtualchasmic code. business. (codework and conflation). In this logic if
A B we might assume that B A. Move a book to a. shelf remove it put it
back. The hierarchy emerges as follows.. (book to shelf) (book from
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to
shelf)). and so forth. One starts constructing graphs with equivalent and.
reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A
which is kind of. backward logic stating if A implicates B implicates A
then A verifying. the antecendent A by assuming the reverse implication.
Maybe another. interpretation For something to be the case
(worldAbookfromshelf) the. case must derive from the case implicating the
formal (systemBbookto. shelf). I think it expresses the backwardedness
reversibility tautology. virtuality impossibility of formal systems
relating to the world and in. this backward manner (which relates to
code).. Of course T(bs) is temporally bound but reversible. It's aligned
and. allied to a nontemporal mathematics or mathematical logic. Once the
world. enters into the equation once time becomes an intrinsic part of
things. the world is different susceptible to organism among other
things.. arc.hive Re codework (KristevaEco). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco) (fwd). Some more conflation on the
reversingirreversing virtualchasmic code. business. (codework and
conflation). In this logic if A B we might assume that B A. Move a book to
a. shelf remove it put it back. The hierarchy emerges as follows.. (book to
shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from
shelf). (book to shelf)). and so forth. One starts constructing graphs
with equivalent and. reversible states.T(bs). The logic reminds of
Peirce's law ((A B) A) A which is kind of. backward logic stating if A
implicates B implicates A then A verifying. the antecendent A by assuming
the reverse implication. Maybe another. interpretation For something to be
the case (worldAbookfromshelf) the. case must derive from the case
implicating the formal (systemBbookto. shelf). I think it expresses the
backwardedness reversibility tautology. virtuality impossibility of formal
systems relating to the world and in. this backward manner (which relates
to code).. Of course T(bs) is temporally bound but reversible. It's
aligned and. allied to a nontemporal mathematics or mathematical logic.
Once the world. enters into the equation once time becomes an intrinsic
part of things. the world is different susceptible to organism among other
things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give
a specific source text for this I've never heard of this law.. I think
from Grayling's Introduction to philososphical logic Ducksworth. haven't
the book here. I'm not even sure how it relates to Al's initial.
assumption though it goes beyond classic analytic logic like a
constructing. logic as the hierachies and game not analysis not connected
to reality. and truth. The law connects to this intuitional logic as it
can be proved in. classical as tautology but not in intuitional logic so
relates somewhat to. the tautology of formal systems discussed... An
interesting article on wikipedia on intuitional logic. There's some
discussion of it at a phillogic list becomes technical hell. Autoreply on.
First off the Aquinas material was very. Chasmic. Commenting on
Proportionality of being leading to an aesthetics of. delight.. Hm this
sounds too much like Aristotle's dubious advocacy of the golden. mean in
all things. I favor the Cagean resistance to proportion and. aesthetics
which offers no less delight.. Enlight abide in the unborn mind and let
things take care of themselves. Speaking of Flavin the artists of the s
pretty much exposed. proportionalism if I may call it that as an
artificial construct based on. outmoded conventions of balance composition
etc. In other words it's not. something art needs or should have and it is
certainly not something a. theory of art should have.. Deem interalized
you have to tilT them out again. And don't get me started on human reason
One look at the world today will. reveal how little human reason impinges
on religion. Reason may have reached. its peak in Aquinas but it's been
all downhill from there. . .. Got artificial intelligence in its stead.
Here's Eco from his book the Limits of Interpretation. Semiotics . . ..
has preferred to work on more traditional narrative works. This is so.
because a semiotics of literature was first of all interested in. because
a semiotics of literature was first of all interested in
experiential responses.These uncommon but often highly reliable. phenomena include alterations in the interpretation of the patients. surroundingssuch as deja vufearand dreaming states and the. reproduction of visual or auditory aspects of specific earlier. experiences.That patients report specific memories in response to. specific stimulation. These phenomena usually arise from tissue. showing epileptogenic dischargebut there is an asymmetry in their. occurrencestimulation of the right temporal lobe produces these. phenomena more frequently than does stimulation of the left temporal. lobewhich suggests that the right hemisphere has perceptual functions. not shared by the left.. The Kimura experiments imply that the left hemisphere is specialized. for processing languagerelated soundswhereas the right hemisphere. processes musicrelated sounds.There ishoweveranother. interpretation.It is possible that the asymmetry is related to the. temporal or spectral structure of the sounds their rhythm and. frequency rather than to language and music themselves.Considerfor. examplethe finding by Papcun and colleagues. They showed that. Morsecode operators have a rightear superiority for the perception. of the codeeven though the sounds are distinguished only by their. temporal structure.. Comment The temporal is on the code source side of running code. executables performatives which refracts into space code matter. spectrum specters. There's no fundamental difference like instruction. is also data but of interpretation processing speed frequencies. and like the continuum of spacetime.. Rudel and coworkers found that both blind and sighted subjects read. Braille more rapidly with the left hand.Some children are actually. fluent readers with the left hand but are totally unable to read with. the right.Because Braille patterns are spatial configurations of dots. this observation is congruent with the proposal that the right. hemisphere has a role in processing spatial information that is not. shared by the left.. Comment Code and its double ar both active both coded though the. former often is interpreted as instruction and the latter as data. or light and shadow.. Table. Summary of data on cerebral lateralization. Function Left hemisphere Right hemisphere. Visual system Letters words Complex geometric patterns. Faces. Auditory system Languagerelated Nonlanguage environmental sound. sound Music. Somatosensory Tactile recognition of complex. system patterns Braille. Movement Complex voluntary Movements in spatial patterns. movement. Memory Verbal memory Nonverbal memory. Language Speech Prosody. Reading. Writing. Arithmetic. Spatial Geometry. processes Sense of direction. Mental rotation of shapes. Several authors (for exampleEfron)have suggested that it is not. motor control itself that is located in the left hemisphere but rather. the capacity for the fine resolution of stimuli in time.. Comment Which is again to state code's inseparability in spacetime. as speed and matter running code and output.. Zatorre proposed that the auditory cortices in the two. hemispheres are therefore specialized such that temporal resolution is. better in the left and spectral resolution is better in the right. auditory areas.. Comment Or again like the theater and its double as time and spectrum.. Rather than specifying different processing of specified. psychological processesother specialization models focus on the. idea that the two hemispheres might process information in distinctly. different ways.. Comment Which is basically code and its double.. The first clear proposal of different information processing was. made by Josephine Semmes in .On the basis of the results of her. previous studies of World War II veterans suffering from penetrating. brain injuriesSemmes concluded that the left hemisphere functions as. a collection of focalized regionswhereas the right hemisphere. functions more diffusely.. Comment No comment.. A large lesion of the right hemisphere produces many more. deficits than would be predicted from the total of smaller lesions. because an entire functional field is removed.A large lesion of the. left hemisphere produces many deficits simply because many small focal. regions have been destroyed that isin the left hemisphere the total. is equal to the sum of the parts. Semmes proposed that this. differential organization of the two hemispheres is advantageous for. efficient control of their respective functions.The diffuse. organization of the right hemisphere is seen as advantageous for. spatial abilitiesbecause spatial analysis requires that different. sensations (visualauditory tactile)be integrated into a single. percept.Language functionsin contrastremain discrete individual. units in the left hemisphere.. Comment Code and its double creates and maintains different domains. different magnitudes and spectrums of frequencies.. People use the word sinister as a synonym for wicked or. evil.Originally a Latin word meaning lefthand sideour contemporary. English meaning implies that lefthandedness has been historically. viewed at best as strange or unusual.. Comment Which is to say that code's double has its own intelligence. far from being dead output from executions.. At least six significant behavioral differences are sex. relatedverbal ability visuospatial analysismathematical. abilityperceptionmotor skillsand aggression.Although the precise. causes of cognitive sexrelated differences are unknownbiology likely. plays a part.Consider the following dataRichard Harshman and his. associatesin a very ambitious study of the interaction of sex and. handedness in cognitive abilitiesfound a significant interaction. between sex and handednessthat issexrelated differences in verbal. and visuospatial behavior vary as a function of handedness.(Recall. that Witelson found that callosal size also varies by sex and. handedness.)It is difficult to imagine how biological or environmental. factors alone could account for this result.It is thus very plausible. account for sexrelated differences partly by neurological. factors that may be modulated by the environment.. Comment Introducing gender issues in codework.. In an analysis of reading skillsDennis and her coworkers found that. both hemispheres had almost equal ability in higherorder reading. comprehension howeverthe left hemisphere is superior to the right in. reading and spelling unfamiliar words and in using sentence structure. achieve fluent reading. The left hemisphere also reads prose. passages with greater decoding accuracy more fluencyand fewer errors. that violate the semantic and syntactic struc ture of the. sentence.The superiority of the left hemisphere seems to be its. ability to manipulate and exploit language rules.Yet the right. hemisphere is not without its strengths in language.Performance is. better with the right hemisphere in a task that requires learning an. association between nonsense words and symbols.. Comment Parsing and (re)integration of code code working on code. as instruction or data data as instruction or instruction as data.. In summarizing the results of studies on languageDennis suggests. that if written language structure is thought of as a combination of. meaning cues (morphology)sound cues (phonology)and picture cues. (logography) then the isolated left hemisphere will show superior. performance with morphology and phonology and inferior performance. with logographic cues.The isolated right hemisphere will show superior. performance with logographic cues and inferior performance with. morphological and phonological cues. Kohn and Dennis found an almost. analogous pattern of results on tests of visuospatial function.They. observed thatalthough patients with right hemispherectomies. performed normally on simple tests of visuospatial functions such as. drawingthey were significantly impaired on complex tests such as. negotiating a maze and reading a map.. Comment The time of code and space of its double.. To summarizeeach hemisphere can assume some of its opposite s. functions if the opposite hemisphere is removed in he course of. development but neither hemisphere is totally capable of mediating. all of the missing hemispheres functions.Thusalthough the. developing brain gives evidence of considerable plasticitythere is. convincing evidence against equipotentiality both hemispheres appear. have a processing capacity that probably has an innate structural. basis.. Comment Which is to state code's doubleness the interweaving of. different processing interpreted instruction or data for each other.. All models of cerebral development must answer he question of how. functions become restricted to one hemisphere rather than becoming. bilateral. The interactive paralleldevelopment hypothesis answers. that question. In a series of papersMorris Moscovitch emphasized the. possibility that one hemisphere actively inhibits the otherthus. preventing the contralateral hemisphere from developing similar. functions. This active inhibition presumably develops at about age. as the corpus callosum becomes functional. as inhibitor. Comment In regard to codework the corpus callosum is the mediator. and inhibitor of code from its double and occupies the border between. sense and surface time and space source code and code source speed. and matter and assures their workings by inhibiting selfreference. (code as nothing) and decoding (of the double) producing meaning and. remains.. From Fundamentals of Human Neuropsychology Fifth Edition.. Bryan Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta. Cerebral asymmetry. Variations in cerebral asymmetry. Re codework (KristevaEco). Hi I honestly don't have time for a long reply I just got back from a. conf. with messages I have to deal with not spam. But if you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror especially the unabridged Fr. version and a great deal of this. is a combination of psychoanalytics and semiotics which she employs as. well. This can be combined with Eco. You'd have to look at the book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco and all such semiotic models of language. reductionist. Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of the insane Language is not only about signals. (Eco's signfunctions) and their corresponding behavioral responses. There. is a form of dark matter in language that never gets touched upon by. semiotics. It is where signals get crossed elided broken down and too. often dismissed in semiotics as gibberish or noise. Eco's approach is good. for analyzing highclass linear detective novels like the ones he writes. but it falls apart on texts that don't make the rage of interpretation their. goal. Like all models of the world semiotics fits some things well and. other things badly and the things it fits badly happen to be precisely the. things I care most about right now in the making of art. Maybe somebody. could propose a new nonlinear model of semiotics or better a chaotic one. that would extend the field into a place that might be interesting. But. Eco's views on language are too restrictive for me and don't carry me to. the places I want to go.. Greimas deals with a much wider range of issues than semiotics in his work. and I prefer him to Eco. Even so there is still much in the making of art. that Greimas doesn't take into account. (Not that I can recall anything. specifically that I could critique off the top of my pointy little head. .. .) Linguistics still only skims the surface of art's deepest concerns so I. guess the question is should an artist be content with merely skimmed. surfaces Or should he dive headlong into the deep waters where theories. fear to tread I guess some of us are Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself despite my wooden leg.. I am taking a breather here to let others get into the conversation if they. wish. Feel free to tear me to pieces if you wish. m. Re codework (KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just got back from a. conf. with messages I have to deal with not spam. But if you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror especially the unabridged Fr. version and a great deal of this. is a combination of psychoanalytics and semiotics which she employs as. well. This can be combined with Eco. You'd have to look at the book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco and all such semiotic models of language. reductionist. Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of the insane Language is not only about signals. (Eco's signfunctions) and their corresponding behavioral responses. There. is a form of dark matter in language that never gets touched upon by. semiotics. It is where signals get crossed elided broken down and too. often dismissed in semiotics as gibberish or noise. Eco's approach is good. for analyzing highclass linear detective novels like the ones he writes. but it falls apart on texts that don't make the rage of interpretation their. goal. Like all models of the world semiotics fits some things well and. other things badly and the things it fits badly happen to be precisely the. things I care most about right now in the making of art. Maybe somebody. could propose a new nonlinear model of semiotics or better a chaotic one. that would extend the field into a place that might be interesting. But. Eco's views on language are too restrictive for me and don't carry me to. the places I want to go.. Greimas deals with a much wider range of issues than semiotics in his work. and I prefer him to Eco. Even so there is still much in the making of art. that Greimas doesn't take into account. (Not that I can recall anything. specifically that I could critique off the top of my pointy little head. .. .) Linguistics still only skims the surface of art's deepest concerns so I. guess the question is should an artist be content with merely skimmed. surfaces Or should he dive headlong into the deep waters where theories. fear to tread I guess some of us are Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself despite my wooden leg.. I am taking a breather here to let others get into the conversation if they. wish. Feel free to tear me to pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in. Theory ). A materialist foundation to dialectical logic a theory of signification. based on the subject his formation.. to perceive a signifying practice which. although produced in language is only intelligible through it.. attests to a. 'crisis' of social structures... For the capitalist mode of production produces and marginalizes but. simultaneously exploits for its own regeneration on of the most spectacular. shatterings of discourse.. can also integrate their process qua process. As. art this shattering can display the productive basis of subjective and. ideological signifying formations a foundation that primitive societies call. 'sacred' and modernity has rejected as schizophrenia.. point to the very. process of signifiance. Magic.. esoterism.. 'incomprehensible' poetry.. the. process that exceeds the subject and his communicative structures.. If there exists a 'discourse' which is not a mere depository of thin. linguistic layers.. or testimony of a withdrawn body.. and instead.. a. practice..the sum of unconscious subjective.. in gestures of confrontation and. appropriation destruction and construction productive violence in short. .. it is the text.. The text is a practice that could be compared to political revolution.. We. shall call this heterogeneous practice signifiance to indicate on the one. hand that biological urges are socially controlled directed and organized. producing an excess with regard to socially apparatuses and on the other hand. that this instinctual operation becomes a practice a transformation of. natural and social resistances limitations and stagnations if and only if. it enters into the code of linguistic and social communication.. What we call signifiance then is precisely this unlimited and unbounded. generating process this unceasing operation of the drives towards in and. through language towards in and through the exchange system and its. protagonists the subject and his institutions. This heterogeneous process. neither anarchic fragmented foundation nor schizophrenic blockage is a. structuring practice a passage to the outer boundaries of the subject and. society. Then and only then can it be jouissance and revolution.. Some comments. what I understand what Kristeva terms a 'practice' of 'text' amounts. somewhat to Sondheim's 'codework' (almost literal the working of code. coding of work). It is codework if and only if it enters into the code of. lingustic and social communication otherwise maybe as 'workcode' it is. 'signifiance' the making meaning and crisis in the structure of 'text'.. 'Text' is composed of signifiance and practice which are two sides like the. working of code (signifiance) vs. coding of work (practice).. My understanding of Eco from the earlier post. Eco A sign is always an element of an expression plane CONVENTIONALLY. CORRELATED to one (or several) elements of a content plane.. A codesign is always an element of an expression plane CODIFIED to one (or. several) elements of a content plane.. Sign is convention codesign is interpretation or as. Signs have automatic interpretations.. Codesigns have problematic conventions.. Codesigns are unconventional interpreted signs.. In my understanding of Eco and Kristeva. What Eco calls 'conventionally correlation' in the signification is the same. as 'codify' where the conventions are problematic interpretative it's still. the same signification process going on but of different complexity.. And an important thing the 'conventional correlation' isn't this just the. signification process again in case Eco is actually defining the sign. recursively loopy which would fit in with Kristeva's notion and which was my. point to say in the earlier Eco response that the 'sign' is purely virtual. it never takes place the expression plane never meets the content plane the. 'conventional correlation' is a chasm or synapse or bridge and where all. the Kristeva shattering break in or is transmitted or runs under. Eco's sign. is never complete the problem is the 'conventional correlation' which is the. sign itself so it never ends. Codework and Kristeva's practice of text is. working in that loophole it's a vertical chasm and crisis in the more. horisontal networks of significations. In short then the sign is open and. codework is wryting it.. In relation to what I called code and its double the double would be the. vertical plane (chasm shadow code) to the horisontal plane (surface. figure double). Yes I inverted that on purpose in a way the double is the. residue which is the sign a mere product a doubling of the code which is. the shadow. The sign is virtual a doublenature of expression and content. which is never complete and the code is the stuff making up the chasm between. and also making the sign (code then is the virtuality of the sign) as all. signs are coded and can not be decoded or the sign would be like nothing.. In another view the sign is the double and the code is nothing the sign is. something while code is nothing which would be both's virtuality and. signifiance. In reality it is opposite sign is nothing and code is. everything which is their practice.. So maybe it turns out that 'code and its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and 'practice' of 'text'. signifiance double. virtuality of code (code is doubled into sign) and practice nothing reality. of code (sign is 'doubled' into nothing reversed) maybe what Charles Baldwin. called the doubleness's double.. And what about the analogy of brain asymmetry in this It would simplify to the. left hemisphere doing significations and the right doing practice. The. sinisters are revolutionary in Kristeva's sense ) The signifiance of the. left's symbolmachine's unlimited and unbounded generating process through. language and the heterogeneous process of the right is a structuring. practice a passage to the outer boundaries of the subject and society. The. timespacebias of leftright would be the unceasing operations of running. code (time) becoming a practice a transformation of natural and social. linguistics limitations stagnations (space). Maybe pushing the analogy too. hard but the asymmetry suggests a slightly different processing or texting. into signifiancecoding maybe extrapolating that the right is more. codedmattered and the left more signifieddialectical. And so on ad. absurdum.. Did I understand this Well it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art in Theory book well neither was Peirce. so they're more into linguistic and language philosophy while Kristeva's. rhetoric into art and the revolutionary side which could be another way of. stating the notion of 'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial use without permission. is a moderated mailing list for net criticism. collaborative text filtering and cultural politics of the nets. more info majordomobbs.thing.net and info nettimel in the msg body. Re codework (KristevaEco) (fwd). Hi I honestly don't have time for a long reply I just got back from a. conf. with messages I have to deal with not spam. But if you look at. Kristeva's Revolution in Poetic Language you'll see a lengthy treatment of. Maldoror especially the unabridged Fr. version and a great deal of this. is a combination of psychoanalytics and semiotics which she employs as. well. This can be combined with Eco. You'd have to look at the book it's hardly reductionist. Same with. Greimas etc. Alan. I have read it and I find Eco and all such semiotic models of language. reductionist. Where does a text like Lautreamont's Maldoror fit into Eco's. scheme Where do the texts of the insane Language is not only about signals. (Eco's signfunctions) and their corresponding behavioral responses. There. is a form of dark matter in language that never gets touched upon by. semiotics. It is where signals get crossed elided broken down and too. often dismissed in semiotics as gibberish or noise. Eco's approach is good. for analyzing highclass linear detective novels like the ones he writes. but it falls apart on texts that don't make the rage of interpretation their. goal. Like all models of the world semiotics fits some things well and. other things badly and the things it fits badly happen to be precisely the. things I care most about right now in the making of art. Maybe somebody. could propose a new nonlinear model of semiotics or better a chaotic one. that would extend the field into a place that might be interesting. But. Eco's views on language are too restrictive for me and don't carry me to. the places I want to go.. Greimas deals with a much wider range of issues than semiotics in his work. and I prefer him to Eco. Even so there is still much in the making of art. that Greimas doesn't take into account. (Not that I can recall anything. specifically that I could critique off the top of my pointy little head. .. .) Linguistics still only skims the surface of art's deepest concerns so I. guess the question is should an artist be content with merely skimmed. surfaces Or should he dive headlong into the deep waters where theories. fear to tread I guess some of us are Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse speaking for myself despite my wooden leg.. I am taking a breather here to let others get into the conversation if they. wish. Feel free to tear me to pieces if you wish. m. Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in. Theory ). A materialist foundation to dialectical logic a theory of signification. based on the subject his formation.. to perceive a signifying practice which. although produced in language is only intelligible through it.. attests to a. 'crisis' of social structures... For the capitalist mode of production produces and marginalizes but. simultaneously exploits for its own regeneration on of the most spectacular. shatterings of discourse.. can also integrate their process qua process. As. art this shattering can display the productive basis of subjective and. ideological signifying formations a foundation that primitive societies call. 'sacred' and modernity has rejected as schizophrenia.. point to the very. process of signifiance. Magic.. esoterism.. 'incomprehensible' poetry.. the. process that exceeds the subject and his communicative structures.. If there exists a 'discourse' which is not a mere depository of thin. linguistic layers.. or testimony of a withdrawn body.. and instead.. a. practice..the sum of unconscious subjective.. in gestures of confrontation and. appropriation destruction and construction productive violence in short. .. it is the text.. The text is a practice that could be compared to political revolution.. We. shall call this heterogeneous practice signifiance to indicate on the one. hand that biological urges are socially controlled directed and organized. producing an excess with regard to socially apparatuses and on the other hand. that this instinctual operation becomes a practice a transformation of. natural and social resistances limitations and stagnations if and only if. it enters into the code of linguistic and social communication.. What we call signifiance then is precisely this unlimited and unbounded. generating process this unceasing operation of the drives towards in and. through language towards in and through the exchange system and its. protagonists the subject and his institutions. This heterogeneous process. neither anarchic fragmented foundation nor schizophrenic blockage is a. structuring practice a passage to the outer boundaries of the subject and. society. Then and only then can it be jouissance and revolution.. Some comments. what I understand what Kristeva terms a 'practice' of 'text' amounts. somewhat to Sondheim's 'codework' (almost literal the working of code. coding of work). It is codework if and only if it enters into the code of. lingustic and social communication otherwise maybe as 'workcode' it is. 'signifiance' the making meaning and crisis in the structure of 'text'.. 'Text' is composed of signifiance and practice which are two sides like the. working of code (signifiance) vs. coding of work (practice).. My understanding of Eco from the earlier post. Eco A sign is always an element of an expression plane CONVENTIONALLY. CORRELATED to one (or several) elements of a content plane.. A codesign is always an element of an expression plane CODIFIED to one (or. several) elements of a content plane.. Sign is convention codesign is interpretation or as. Signs have automatic interpretations.. Codesigns have problematic conventions.. Codesigns are unconventional interpreted signs.. In my understanding of Eco and Kristeva. What Eco calls 'conventionally correlation' in the signification is the same. as 'codify' where the conventions are problematic interpretative it's still. the same signification process going on but of different complexity.. And an important thing the 'conventional correlation' isn't this just the. signification process again in case Eco is actually defining the sign. recursively loopy which would fit in with Kristeva's notion and which was my. point to say in the earlier Eco response that the 'sign' is purely virtual. it never takes place the expression plane never meets the content plane the. 'conventional correlation' is a chasm or synapse or bridge and where all. the Kristeva shattering break in or is transmitted or runs under. Eco's sign. is never complete the problem is the 'conventional correlation' which is the. sign itself so it never ends. Codework and Kristeva's practice of text is. working in that loophole it's a vertical chasm and crisis in the more. horisontal networks of significations. In short then the sign is open and. codework is wryting it.. In relation to what I called code and its double the double would be the. vertical plane (chasm shadow code) to the horisontal plane (surface. figure double). Yes I inverted that on purpose in a way the double is the. residue which is the sign a mere product a doubling of the code which is. the shadow. The sign is virtual a doublenature of expression and content. which is never complete and the code is the stuff making up the chasm between. and also making the sign (code then is the virtuality of the sign) as all. signs are coded and can not be decoded or the sign would be like nothing.. In another view the sign is the double and the code is nothing the sign is. something while code is nothing which would be both's virtuality and. signifiance. In reality it is opposite sign is nothing and code is. everything which is their practice.. So maybe it turns out that 'code and its double' and 'code as nothing' fit with. Kristeva's 'signifiance' and 'practice' of 'text'. signifiance double. virtuality of code (code is doubled into sign) and practice nothing reality. of code (sign is 'doubled' into nothing reversed) maybe what Charles Baldwin. called the doubleness's double.. And what about the analogy of brain asymmetry in this It would simplify to the. left hemisphere doing significations and the right doing practice. The. sinisters are revolutionary in Kristeva's sense ) The signifiance of the. left's symbolmachine's unlimited and unbounded generating process through. language and the heterogeneous process of the right is a structuring. practice a passage to the outer boundaries of the subject and society. The. timespacebias of leftright would be the unceasing operations of running. code (time) becoming a practice a transformation of natural and social. linguistics limitations stagnations (space). Maybe pushing the analogy too. hard but the asymmetry suggests a slightly different processing or texting. into signifiancecoding maybe extrapolating that the right is more. codedmattered and the left more signifieddialectical. And so on ad. absurdum.. Did I understand this Well it was written (signifiancepractice).. Btw Eco wasn't mentioned in the Art in Theory book well neither was Peirce. so they're more into linguistic and language philosophy while Kristeva's. rhetoric into art and the revolutionary side which could be another way of. stating the notion of 'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial use without permission. is a moderated mailing list for net criticism. collaborative text filtering and cultural politics of the nets. more info majordomobbs.thing.net and info nettimel in the msg body. Re codework (KristevaEco). language is the mechanism whereby you understand what i'm thinking better. than i do (where 'i' is defined by those changes for which i is required).. i an interface of signifiance over our shattered do (where i. mediates sign and fiance (which is double itself (signifiance (all parents. are married to their children (i am the priest (the conventional and virtual. (of the chasm (like every convention is exactly the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re Codework Eco Aquinas. Sandy Baldwin Thanks for a very interesting read it blows my mind to. see that the things are still the same and humbly that my simple. exposition of Eco's sign as paradoxical based only from Al's short. cites actually is traceable back to Aquinas (maybe cascading from actus. purus and prima materia finally).. In addition your article proves to me that a careful logic intuition. sparse material also can be enough to get into the core of things. without the proper acacemical frameworks in support. But that's the joy. of philosophy.. I'm grateful for all the connecting references I'm commenting short. some from my understanding of Eco posted earlier which might seem. cryptic without the frameworks for clarification and confirmation. Bjorn. Charles Baldwin. The inarticulate cry which seemed to be the voice of light. Hermes. Trismegistus. (the conventional and virtual (of the chasm (like every convention is. exactly the chasm))). Refering to the convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas was precisely the answer to how formal. systems participate with the world an answer that deals with both the. grounds and the exteriority of sign systems. That is codework was. already the issue though under the guise of aesthetics rather than code. aesthetics in the older sense of sensation aisthesis and not. aesthetics in the sense of codified responses or artistic forms or. rather in the sense of the ground of these responsesforms. (I've. discussed this elsewhere in relation to code aesthetics.). Comment Which maybe boils down to time and space like in the. Kantian sense of aesthetics and which then links to the recent. discussion here temporalspatial stuff.. The working out of all this is the notion of manifestation a quasi. mystical translation between proportionalities enabling the whole. system. (I think here of the relation between code and AS's notion of. plasma.).. Comment The 'ether' of prerelativistic physics as the carrier. The. virtual underlying part needed to get the system going at all.. The paradox here (Panofsky gets this too but it's crucial to Eco's. semiotics) is the notion that manifestation will clarify faith clarify. the underlying participation in being but in doing so will finally. clarify faith (bring it to an end). This impossible need for. exemplification leads in Panofsky's terms to the POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I think it's. possible to see in Eco precisely this paradox enabling semiotics as an. intraformal economy of proliferating signs. Everything must be. clarified made into as sign but (also) there always remains some. unclarity guaranteeing a kind of momentum from being to sign.. Elaboration i.e. the structures of signs systems arises from. clarification. Semiotics is clarification not in any particular sign. but in semiotics itself as the residue of clarification.. Comment Interesting I refered to the virtuality of the sign (its. impossibility) argued for via the recursivity of Eco's definition of the. sign ie its paradox endlessness and from that the relation between. sign and residue code and double and nothing etc. Eco and information. theory have an understanding of recursivity and selfreference (via the. speed of light of computers) in another sense than for Thomists for who. these problems would seem paradox (and evil).. what degree is Eco's semiotics a concealed continuation of a Thomist. aesthetics Read across the trajectory of Eco's work from the earliest. text through the Theory of Semiotics every sign is a ghost emanation. of being. Beyond this there's another related but different history. explaining how the whole thing is staged rhetorically dissolving. being into performance but that's probably enough for now.. Comment This all seems to resonate with my simple understanding but. maybe cryptic form also allowing the Kristeva operations on text to. take place maybe in the ghost emanations from the virtuality of the. sign and the reality of the code. From my view if would also be. interesting to know if the rhetorical staging into performance would. be similar to the idea of code as nothing and how the whole business. dissolves itself.. Interesting reading keep on by all means.. Re Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a very interesting read it blows my mind to. see that the things are still the same and humbly that my simple. exposition of Eco's sign as paradoxical based only from Al's short. cites actually is traceable back to Aquinas (maybe cascading from actus. purus and prima materia finally).. In addition your article proves to me that a careful logic intuition. sparse material also can be enough to get into the core of things. without the proper acacemical frameworks in support. But that's the joy. of philosophy.. I'm grateful for all the connecting references I'm commenting short. some from my understanding of Eco posted earlier which might seem. cryptic without the frameworks for clarification and confirmation. Bjorn. Charles Baldwin. The inarticulate cry which seemed to be the voice of light. Hermes. Trismegistus. (the conventional and virtual (of the chasm (like every convention is. exactly the chasm))). Refering to the convention of Eco's sign to. Kristeva's chasm.. The attraction of Aquinas was precisely the answer to how formal. systems participate with the world an answer that deals with both the. grounds and the exteriority of sign systems. That is codework was. already the issue though under the guise of aesthetics rather than code. aesthetics in the older sense of sensation aisthesis and not. aesthetics in the sense of codified responses or artistic forms or. rather in the sense of the ground of these responsesforms. (I've. discussed this elsewhere in relation to code aesthetics.). Comment Which maybe boils down to time and space like in the. Kantian sense of aesthetics and which then links to the recent. discussion here temporalspatial stuff.. The working out of all this is the notion of manifestation a quasi. mystical translation between proportionalities enabling the whole. system. (I think here of the relation between code and AS's notion of. plasma.).. Comment The 'ether' of prerelativistic physics as the carrier. The. virtual underlying part needed to get the system going at all.. The paradox here (Panofsky gets this too but it's crucial to Eco's. semiotics) is the notion that manifestation will clarify faith clarify. the underlying participation in being but in doing so will finally. clarify faith (bring it to an end). This impossible need for. exemplification leads in Panofsky's terms to the POSTULATE OF. CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving Panofsky I think it's. possible to see in Eco precisely this paradox enabling semiotics as an. intraformal economy of proliferating signs. Everything must be. clarified made into as sign but (also) there always remains some. unclarity guaranteeing a kind of momentum from being to sign.. Elaboration i.e. the structures of signs systems arises from. clarification. Semiotics is clarification not in any particular sign. but in semiotics itself as the residue of clarification.. Comment Interesting I refered to the virtuality of the sign (its. impossibility) argued for via the recursivity of Eco's definition of the. sign ie its paradox endlessness and from that the relation between. sign and residue code and double and nothing etc. Eco and information. theory have an understanding of recursivity and selfreference (via the. speed of light of computers) in another sense than for Thomists for who. these problems would seem paradox (and evil).. what degree is Eco's semiotics a concealed continuation of a Thomist. aesthetics Read across the trajectory of Eco's work from the earliest. text through the Theory of Semiotics every sign is a ghost emanation. of being. Beyond this there's another related but different history. explaining how the whole thing is staged rhetorically dissolving. being into performance but that's probably enough for now.. Comment This all seems to resonate with my simple understanding but. maybe cryptic form also allowing the Kristeva operations on text to. take place maybe in the ghost emanations from the virtuality of the. sign and the reality of the code. From my view if would also be. interesting to know if the rhetorical staging into performance would. be similar to the idea of code as nothing and how the whole business. dissolves itself.. Interesting reading keep on by all means.. Re codework (KristevaEco) (fwd). language is the mechanism whereby you understand what i'm thinking better. than i do (where 'i' is defined by those changes for which i is required).. i an interface of signifiance over our shattered do (where i. mediates sign and fiance (which is double itself (signifiance (all parents. are married to their children ('i' am the priest (the conventional and. virtual (of the chasm (like every convention is exactly the chasm (that's why. (that's 'why' (what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). Re codework (KristevaEco). Some more conflation on the reversingirreversing virtualchasmic code. business. (codework and conflation). In this logic if A B we might assume that B A. Move a book to a. shelf remove it put it back. The hierarchy emerges as follows.. (book to shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to shelf)). and so forth. One starts constructing graphs with equivalent and. reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A which is kind of. backward logic stating if A implicates B implicates A then A verifying. the antecendent A by assuming the reverse implication. Maybe another. interpretation For something to be the case (worldAbookfromshelf) the. case must derive from the case implicating the formal (systemBbookto. shelf). I think it expresses the backwardedness reversibility tautology. virtuality impossibility of formal systems relating to the world and in. this backward manner (which relates to code).. Of course T(bs) is temporally bound but reversible. It's aligned and. allied to a nontemporal mathematics or mathematical logic. Once the world. enters into the equation once time becomes an intrinsic part of things. the world is different susceptible to organism among other things.. arc.hive Re codework (KristevaEco). Some more conflation on the reversingirreversing virtualchasmic code. business. (codework and conflation). In this logic if A B we might assume that B A. Move a book to a. shelf remove it put it back. The hierarchy emerges as follows.. (book to shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to shelf)). and so forth. One starts constructing graphs with equivalent and. reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A which is kind of. backward logic stating if A implicates B implicates A then A verifying. the antecendent A by assuming the reverse implication. Maybe another. interpretation For something to be the case (worldAbookfromshelf) the. case must derive from the case implicating the formal (systemBbookto. shelf). I think it expresses the backwardedness reversibility tautology. virtuality impossibility of formal systems relating to the world and in. this backward manner (which relates to code).. Of course T(bs) is temporally bound but reversible. It's aligned and. allied to a nontemporal mathematics or mathematical logic. Once the world. enters into the equation once time becomes an intrinsic part of things. the world is different susceptible to organism among other things.. Re codework (KristevaEco) (fwd). Some more conflation on the reversingirreversing virtualchasmic code. business. (codework and conflation). In this logic if A B we might assume that B A. Move a book to a. shelf remove it put it back. The hierarchy emerges as follows.. (book to shelf) (book from shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to shelf)). and so forth. One starts constructing graphs with equivalent and. reversible states.T(bs). The logic reminds of Peirce's law ((A B) A) A which is kind of. backward logic stating if A implicates B implicates A then A verifying. the antecendent A by assuming the reverse implication. Maybe another. interpretation For something to be the case (worldAbookfromshelf) the. case must derive from the case implicating the formal (systemBbookto. shelf). I think it expresses the backwardedness reversibility tautology. virtuality impossibility of formal systems relating to the world and in. this backward manner (which relates to code).. Of course T(bs) is temporally bound but reversible. It's aligned and. allied to a nontemporal mathematics or mathematical logic. Once the world. enters into the equation once time becomes an intrinsic part of things. the world is different susceptible to organism among other things.. Re codework (KristevaEco). Peirce's law ((A B) A) A. Can you give a specific source text for this I've never heard of this law.. I think from Grayling's Introduction to philososphical logic Ducksworth. haven't the book here. I'm not even sure how it relates to Al's initial. assumption though it goes beyond classic analytic logic like a constructing. logic as the hierachies and game not analysis not connected to reality. and truth. The law connects to this intuitional logic as it can be proved in. classical as tautology but not in intuitional logic so relates somewhat to. the tautology of formal systems discussed... An interesting article on wikipedia on intuitional logic. There's some discussion of it at a phillogic list becomes technical hell. Autoreply on. First off the Aquinas material was very. Chasmic. Commenting on Proportionality of being leading to an aesthetics of. delight.. Hm this sounds too much like Aristotle's dubious advocacy of the golden. mean in all things. I favor the Cagean resistance to proportion and. aesthetics which offers no less delight.. Enlight abide in the unborn mind and let things take care of themselves. Speaking of Flavin the artists of the s pretty much exposed. proportionalism if I may call it that as an artificial construct based on. outmoded conventions of balance composition etc. In other words it's not. something art needs or should have and it is certainly not something a. theory of art should have.. Deem interalized you have to tilT them out again. And don't get me started on human reason One look at the world today will. reveal how little human reason impinges on religion. Reason may have reached. its peak in Aquinas but it's been all downhill from there. . .. Got artificial intelligence in its stead. Here's Eco from his book the Limits of Interpretation. Semiotics . . .. has preferred to work on more traditional narrative works. This is so. because a semiotics of literature was first of all interested in. because a semiotics of literature was first of all interested in